Dylan (Molly Nutley) lost his mother (Ellen Lindblad) a year and a half ago (or seventeen months ago, if you ask Dylan). He directs his sorrows to those who are helpful; He delivered groceries by boat to his father’s shop at various houses.
In his fishing village and taught local children to dance. His excited grandmother (Marie Goranzon) urges Dylan to return to the professional dancing dream he gave up when his dancing mother died.
When Dylan finally got the courage to audition for an international dance company:
He found himself a month late for practice. She ends up being a cleaning lady at a slide club called Queens through a strange chain of events.
A chance encounter causes him to reveal his dancing skills to the ultra-modern club choreographer. Victor (Fredrik Kyones), who helps Dylan hide his gender. To give the new show a much-needed life company.
While Dylan lied to the queen at the club about who he was. He also lied to his grandmother and father about still auditioning for the dance company.
He had a hard time juggling this lie with the excruciating agony he was in. And he wasn’t the only one hurting her. At the club, old school queen Tommy (Claes Malmberg) struggles with losing her love and publishing the ’70s dance number in Kempi.
With the club’s future in jeopardy, all these dancers must put their differences aside to create something extraordinary. And Dylan must now really learn to live and love his life without his mother by his side.
As a grieving Tommy, Klaes Malmberg instantly becomes a scene-stealer. His eyes sparkled a pleasant quality that could see in every slight nod, every movement, or in his quiet moments when he spoke loudly to the late Jackie.
His constant stickiness to the performance of “I Will Survive” and his magnetic smile, whether entirely or entirely naked, have made Tommy a brilliant and memorable character from his first appearance. No wonder Malmberg has worked in Sweden for so long.
Dancing Queens is an interesting little film.
With nearly two hours of execution, indeed too long. But his heart was so big that it was hard to blame most of his troubles on him. The film’s biggest problem is its decision to use a gay character.
As a secondary source in the story of a cis woman. Dylan did play quite sweetly by Molly Nutley, is a beautiful lead role, but that’s about it.
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All we know here about her is that she is a kind, grieving girl. They wanted to dance but failed to keep up with the loss of her mother. Your character has nothing more to do and never has a chance to grow.
It’s a shame because something is exciting about growth and sadness. But despite the sweetness of the film and its best intentions, a young cis woman who disguises herself and lies to a group of sliding queens proud of their haven feels deeply informed.
This doesn’t mean that Dancing Queens maliciously erased its gay characters, but it does sort of clash when they’re put into stereotypical roles that exist to support the story of their female roles.
Despite all my troubles with the film’s central premise:
I was interested in the supporting cast. The ladies in “Queens” make Dancing Queens worth seeing, enriching the film world with their (sometimes cliché) stories and their undeniable chemistry with one another.
The scene to stop the Queens show gave Dancing Queens power in the first place and had something so memorable in the film that it’s otherwise perfectly safe to play.
It’s a shame these players often see Dylan’s story. The free end is tied so well that it almost provokes the eye, but I never want to look away from the film ensemble. If only Dancing Queens knew where her real power lay.
While Dancing Queens is undeniably cute, and the ensemble’s dazzling scenes are definitely worth a shot. This film makes a huge mistake by placing the spotlight on cisgender women in a strange room.