Olivia Colman and John Lithgow Shine in ‘Jimpa,’ a Personal Yet Uneven Queer Family Portrait
By Entertainment Correspondent January 3, 2026
Sophie Hyde’s semi-autobiographical drama Jimpa arrives as one of the most intimate entries from the 2025 Sundance Film Festival, blending heartfelt warmth with occasional narrative stumbles. Premiering on January 23, 2025, to mixed reviews (54% on Rotten Tomatoes and Metacritic), the film has secured distribution: Kino Lorber handles North America with a February 6 opening at New York’s Quad Cinema and Los Angeles’ Laemmle Monica, followed by expansion; Kismet Movies releases it in Australia on February 19; and Icon Film Distribution brings it to UK and Ireland cinemas later in 2026.
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Oscar winner Olivia Colman stars as Hannah, a filmmaker loosely based on Hyde herself, who travels from Australia to Amsterdam with her husband (Daniel Henshall) and nonbinary teenager Frances (Aud Mason-Hyde, Hyde’s real-life child in a striking debut) to visit Hannah’s estranged father, Jim—endearingly called “Jimpa” (John Lithgow). Jim came out as gay decades ago, leaving his family to build a vibrant life in Europe’s queer community. The trip takes a turn when Frances announces a desire to stay with Jimpa for a year, prompting Hannah to confront unresolved pain from her father’s absence and question her own parenting in a fluid, modern family.
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Hyde, known for the intimate Good Luck to You, Leo Grande, co-wrote with Matthew Cormack a script rich in generational contrasts: Jimpa’s old-school activism amid the AIDS era versus Frances’ contemporary navigation of identity, pronouns, and community. The film opens with supportive family moments—parents defending Frances’ they/them pronouns against Jimpa’s playful teasing—establishing a loving but uncertain dynamic tinged by past secrets. Colman delivers what The Guardian calls a “marvellous” performance, shifting emotions in blinks, especially in raw bedside scenes as Jimpa faces health decline. Lithgow, fearless and charismatic (including full-frontal nudity), portrays Jimpa as a hedonistic yet impactful figure whose legacy of safe spaces resonates deeply. Aud Mason-Hyde emerges as a breakout, bringing authentic vulnerability to Frances’ self-discovery.
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Jimpa excels in quiet impact: Jimpa’s influence on loved ones, tender reunions, and Amsterdam’s bohemian queer scenes. TheWrap praises Hyde’s attunement to “modern family rhythms,” while ScreenRant highlights its authentic queer exploration. Yet critics note flaws—Hyde belabors themes through repetitive dialogues on identity evolution, pronouns, and sexuality, reminiscent of her prior work but less focused here. Variety and IndieWire critique the avoidance of sharper conflict, calling it “muddled” or “lukewarm,” with pacing that drags despite a two-hour runtime. The Hollywood Reporter deems it “numbingly earnest,” covering too much (AIDS crisis, trans identity, ethical non-monogamy) without depth.
Hannah’s film-within-a-film pitches a “drama without conflict,” an intriguing idea the movie itself struggles to execute effectively—opting for telling over showing. Still, the naturalism, empathy, and standout performances make it rewarding for representation seekers. As Hyde told outlets, it’s a “celebration of messy family love,” produced via Colman’s South of the River Pictures.
In a polarized era, Jimpa invites reflection on progress across queer generations. Imperfect but sincere, it’s elevated by its leads—Colman and Lithgow “soar,” per reviews—and promises emotional resonance for open-hearted viewers.
