Editor’s note: The views and opinions expressed in this review are solely those of Marlon Wallace and do not necessarily reflect the views and opinions of WBOC.
Kate Birdsall wrote In Between: A Memoir (2021). It tells her story of being a transgender woman over the course of nearly 70 years. Director and co-writer Jon Garcia (Luz and The Falls) essentially adapts that memoir. Birdsall helped co-write the screenplay. Birdsall also plays herself in the film. It’s a testament of what a transgender woman would experience from discovery to coming out. It’s devoid of any transphobia. Except for one moment of potential threat, there is little to no negativity in regard to Birdsall’s gender identity. The other thing is that this film is a love story involving middle-age to elderly people. In that, it’s mostly sweet and tender, as well as being devoid of ageism. It could be argued that the majority of the conflict here isn’t external but rather internal.
Yes, Birdsall plays herself in this film. Yet, it’s not a documentary. It could be viewed that way, as it includes a constant voice-over narration from Birdsall, and, as we see re-creations of her recollections. It’s virtually an autobiography on display here, but, again, it’s not a documentary. It’s drama with the occasional hint of humor. It joins a short list of films where the subject of a true-life story portrays him or herself in a dramatic re-telling of that same, true-life story. For example, Jackie Robinson played himself in The Jackie Robinson Story (1950). Muhammad Ali played himself in The Greatest (1977). Recently, Kumail Nanjiani played himself in The Big Sick (2017). Spencer Stone, Anthony Sadler and Alek Skarlatos played themselves in The 15:17 to Paris (2018).
There are plenty of actors who have played fictionalized versions of themselves. The weekend prior to this film’s release saw The Unbearable Weight of Massive Talent (2022), a film in which Nicolas Cage plays himself, but it’s nowhere near autobiographical. He’s playing himself in a story that is totally invented and removed from anything Cage actually experienced. That wasn’t the case for Jackie Robinson or Muhammad Ali. Nor was it the case for the aforementioned men in The 15:17 to Paris. For those men, they were being truly autobiographical.
It’s the same for Birdsall here. She is telling her own story. Similarly to Stone, Sadler and Skarlatos, Birdsall was a non-actor prior to her film. Like the three men of The 15:17 to Paris, Birdsall was also former military, having served in the U.S. Coast Guard. Her performance is perhaps reflective of someone who had military training and discipline. She isn’t as outspoken or engaging as someone like Muhammad Ali or even Nicolas Cage, who have a natural and often overwhelming charisma to their personas. Birdsall is reserved, which could reflect in her character’s stance of having to start over as a veritable septuagenarian.
The same could be said about Andrea Drury who is also playing herself in this film. Drury, who looks like Olympia Dukakis from Tales of the City (2019), plays the love interest to Birdsall and her eventual partner. In real life, Drury is the love interest and partner to Birdsall. They don’t shy away from the awkward dynamics between Drury and Birdsall. There’s awkward physicality between the two lovers, which isn’t often portrayed on the big screen in regards to older and even elderly people. It’s certainly not often portrayed in regards to queer or same-sex couples that are older or elderly.
One of a very few examples is the recent French film Two of Us by Filippo Meneghetti, which is more about homophobia and particularly homophobia from external forces. While there is no transphobia in Garcia’s film here, there is a whiff of homophobia as one of the struggles between Birdsall and Drury. Yet, it’s not homophobia from external forces, at least not as the main thrust. Both Birdsall and Drury, despite being nearly 70, struggle with their sexuality. Neither had, nor believed, they would ever have a same-sex romance or what is essentially a lesbian relationship.
It isn’t homophobia per se. It’s a kind of reticence, as each are exploring a sexuality and in general a kind of love that they’ve never braved before. Even though it’s not graphic or gratuitous, this film does what other films involving near elderly characters often don’t do. It shows sexagenarians engaging in sex. Two of Us had that elderly sexuality, but someone who’s in their 60’s or even 70’s being sexual and engaging in intercourse or potentially so aren’t depicted much in film. Again, this film isn’t graphic or gratuitous, but showing that side of these older people is important, if awkward, and Garcia’s film leans into that awkward and even comedy of it.
Speaking of comedy, there isn’t much here, but the best comedy comes from Zoe Taylor, another non-actor playing herself. She’s the very nosy and talkative neighbor. Ironically, the best dramatic performances come from the young actors playing Birdsall in the fourth grade and her friend, Albert. Birdsall was assigned male at birth and was named Danny. Danny is played here by young actor, Luke Alden. Albert is played by Adrian Wilkinson. Both, Alden and Wilkinson only have four scenes, which only consist of 10 minutes of screen time, but what those two boys convey in that short amount of time was incredible. They convey the love and friendship between these two boys, and the feelings between them was just as strong if not stronger than those between Birdsall and Drury.
Not Rated but for mature audiences.
Running Time: 1 hr. and 39 mins.
Available on VOD.
