The premise immediately recalls the 1931 classic 'Mädchen in uniform,' while the updated, modern setting readily portends a certain amount of low-grade cheese, as so often happens in such cases. Slick, crisp production values, a contemporary soundtrack, and the writing of the chief characters and their interactions all point to an unrepentant, campy lesbian romance. Gratifyingly, all these things are more or less true, and 'Loving Annabelle' is pretty entertaining overall.
It goes without saying that the queer subtext in films of many decades past - 1931, or even 1958 - was so heavily minimized as to be downplayed into nonexistence. Here, filmmaker Katherine Brooks totally dispenses with all pretense. While she lets the romance develop slowly and (relatively) organically, the intent is clear from the outset, and emphasized with every concrete line of dialogue or slight touch, nevermind the eventual realization. To their credit, stars Erin Kelly and Diane Gaidry have great on-screen chemistry, and ably give life to their characters' emotions and conflicts. This is hardly to speak ill of the rest of the cast, either, who I think are just fine.
Brooks surprisingly follows, very loosely, the narrative thrust of 'Annabelle's' source of inspiration. With the actualization of a relationship that's only scarcely suggested in that earlier story, the consequences upon its discovery are also far greater. After all - anyone watching this is here for the lesbian representation, but there's no ignoring the dire impropriety of the central relationship between adult teacher and teenage student. And I'm surprised again that Brooks chooses to end her film on a down note. On the one hand it's refreshing, given how many movies at large rush to resolve the plot and see the audience to the door with an often ham-handed happy ending. But on the other hand, it's depressing, and still more so for the lack of especially well-made features where an LGBTQ romance is allowed to exist, at the conclusion, sans drama.
The technical craft is swell. With especial care of course written into Annabelle and Simone, characters are as mostly complete and well-rounded as they need to be, while still allowing the cast some small room to embody the roles as they will. The narrative absolutely makes use of genre tropes, but like I said - from the very start, any half-aware viewer should already be anticipating a measure of kitsch. The end result is a film that, if imperfect, is an unexpectedly solid update of an old classic. There are things I'd liked to have played out different, but 'Loving Annabelle' is suitably enjoyable, and worth a look if you come across it.
It goes without saying that the queer subtext in films of many decades past - 1931, or even 1958 - was so heavily minimized as to be downplayed into nonexistence. Here, filmmaker Katherine Brooks totally dispenses with all pretense. While she lets the romance develop slowly and (relatively) organically, the intent is clear from the outset, and emphasized with every concrete line of dialogue or slight touch, nevermind the eventual realization. To their credit, stars Erin Kelly and Diane Gaidry have great on-screen chemistry, and ably give life to their characters' emotions and conflicts. This is hardly to speak ill of the rest of the cast, either, who I think are just fine.
Brooks surprisingly follows, very loosely, the narrative thrust of 'Annabelle's' source of inspiration. With the actualization of a relationship that's only scarcely suggested in that earlier story, the consequences upon its discovery are also far greater. After all - anyone watching this is here for the lesbian representation, but there's no ignoring the dire impropriety of the central relationship between adult teacher and teenage student. And I'm surprised again that Brooks chooses to end her film on a down note. On the one hand it's refreshing, given how many movies at large rush to resolve the plot and see the audience to the door with an often ham-handed happy ending. But on the other hand, it's depressing, and still more so for the lack of especially well-made features where an LGBTQ romance is allowed to exist, at the conclusion, sans drama.
The technical craft is swell. With especial care of course written into Annabelle and Simone, characters are as mostly complete and well-rounded as they need to be, while still allowing the cast some small room to embody the roles as they will. The narrative absolutely makes use of genre tropes, but like I said - from the very start, any half-aware viewer should already be anticipating a measure of kitsch. The end result is a film that, if imperfect, is an unexpectedly solid update of an old classic. There are things I'd liked to have played out different, but 'Loving Annabelle' is suitably enjoyable, and worth a look if you come across it.