Chuck Chuck Baby is a tender, offbeat gem of a film that blends the grit of working-class life with the sparkling charm of a jukebox musical, delivering a heartfelt coming-of-age story about starting over—particularly from the queer, female perspective.
At its core is Helen, played with aching vulnerability and quiet strength by Louise Brealey. Her journey of self-discovery and reconnection is both specific and universal, deeply rooted in the common queer experience of having to rebuild and rediscover oneself later in life. The arrival of her old flame, Joanne (a magnetic performance by Annabel Scholey), acts as a catalyst, unlocking memories, regrets, and new hope. Their chemistry crackles—playful, intimate, and electric without ever feeling forced. Watching them together is a genuine joy.
What makes Chuck Chuck Baby stand out isn’t just its heartfelt narrative but the way it dares to contrast its bleak, industrial setting with moments of unfiltered whimsy. Set against the grey backdrop of a chicken factory, the film sprinkles in delightfully kooky musical numbers. It’s a melting pot of the weird and the utterly mundane and that tonal contradiction reflects Helen’s emotional landscape as she stumbles toward rediscovery.
The wider ensemble of factory workers forms an unlikely but deeply affecting surrogate family. Their camaraderie, bickering, and quiet acts of care become the beating heart of the film. It’s through them that Chuck Chuck Baby reveals its central message: that love, in all its forms, is what gives life colour.
Musically, this is a jukebox musical like nothing I’ve ever seen. The opening number immediately brought to mind the iconic “Wild World” scene from Skins—unpredictable, raw, and beautifully staged. But it was Helen losing herself to Neil Diamond’s “I Am… I Said” that absolutely floored me. It’s one of those rare cinematic moments that’s simultaneously hilarious and heartbreaking.
I laughed out loud. I cried. And really, what more can you ask for than that?
In My Humble Opinion 