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The animated science-fiction/fantasy hybrid “Nimona” is based on cartoonist ND Stevenson’s graphic novel, adapted to the screen by co-directors Nick Bruno and Troy Quane, who follow Stevenson’s lead in foregrounding the comics’ LGBTQ+ themes. The title character is a shape-shifter who presents herself most often as a young woman, but who can freely change form — into animals or other people — according to how she feels or what she needs.
Nimona aligns with the reluctant Ballister, mistakenly thinking he’s eager to tear down a militaristic society that fears “monsters” like her. But , it turns out Ballister still thinks of himself as a hero. So to get him to a place of destructive rage, Nimona first has to convince him that the world he once swore to protect can be narrow-minded and cruel.
Though “Nimona” makes a strong, clear sociopolitical point, it’s not really all that preachy. Bruno and Quane take their cues from the puckish wit and sense of adventure in Stevenson’s work, and have made a fast-paced, action-packed movie, set in a place that combines futuristic technology and a medieval-style social order.
Kijak’s film at times resembles Mark Rappaport’s groundbreaking 1992 cinematic essay “Rock Hudson’s Home Movies,” in that both use clips from Hudson’s films that ironically reflect his life in the closet. But “All That Heaven Allowed” also has extensive interviews with people who knew Hudson intimately, and who can explain how he coped remarkably well with the challenges of being gay in mid-20th century America.
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Nimona Remains a Fairy Tale for the Freaks and Queers, in the Best WayRemaining true to its source material while stuffing all its subversion into 99 minutes, Nimona is a sharp, chaotic, trans fairy tale. TheAutumnWright's review:
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