• Wendy Shreve


Many gender binary/non-binary women and men have been there. Loving a man/woman they cannot have. The danger becomes when the woman becomes obsessed with what had been, what could be; when her life begins to unravel as she holds on to the untenable.

In Andrew Rajan's Grey's Inbetween (2021, yes that's the title spelling), a British woman, "Jane Grey" represents the above fictional character; a symbol but with a personal dialogue. She narrates most of the film, relaying her double-edged opinion of British culture. That is her bitterness about race relations, personal setbacks, tarnish her moments of admiration.

The actress, Natasha Bain, balances Jane's torment and periods of joy with ease. To carry a movie as well as insert her commentary without droning on, requires talent. Bain has that. The viewer wants her life to matter, for Jane to find her way.

Filmed in London with splashes of creativity, the emphasis in Grey's Inbetween relies on the inward looking outward, with Jane's actions being less important than her words--until the movie's climax.

The story would have been more palpable with a better film score; it's plodding and derivative.

Grey's Inbetween takes a fresher approach to contemporary issues and obsession than seen lately. The drama makes its point.

Now available (digital) on Amazon, Tubi and Xumo.

Unrated. Sex, obsession and violence. Warning: one scene may be traumatizing to the vulnerable given recent events.

Earlier reviews not seen on this website (before May 20, 2021) are available on or my previous blog site,

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