52 Tuesdays

Out Now On-Demand

Bittersweet Australian indie drama, a winner at both Sundance and Berlin Film Festivals in 2014. 16-year-old Billie (newcomer Tilda Cobham-Hervey) comes of age at an accelerated rate when her mother reveals plans to change gender. From Adelaide director Sophie Hyde, her fictional debut having previously made dance documentary Life in Movement. Hyde shot the film strictly over 52 consecutive Tuesdays, to capture a year of life onscreen.

"Billie is blindsided by the news that her mother is planning to transition from female to male and that, during this time, Billie will live at her father’s house. Billie and her mother have always been extremely close, so the two make an agreement they will meet every Tuesday during their year apart. As her mother transitions and becomes less emotionally available, Billie covertly explores her own identity and sexuality with two older schoolmates, testing the limits of her own power, desire, and independence." (Sundance Film Festival)



Winner of the Directing Award (World Cinema, Dramatic) at Sundance FIlm Festival 2014; Winner Crystal Bear (Generation 14plus, Best Film) at Berlin Film Festival 2014

Directed by



Rating: MA15+


A delicate and rich relationship drama, 52 Tuesdays follows a family through a year of transformation. The film opens with the revelation that Billie’s mother is preparing to transition to become a man. They make an arrangement that Billie will live with her father for the year but she will spend every Tuesday evening with her mother. In true 16-year-old style, Billie has her own plans for these Tuesdays and sets down a very different path of exploration.

Developed through a low-budget film initiative, 52 Tuesdays was filmed sequentially every Tuesday for a year. Using a cast of non-actors (Tilda Cobham-Hervey - aka Australia’s answer to Carey Mulligan - was found at an open audition) and a script written week to week has infused the film with a freshness and energy. The dialogue is sharp and the relationships are well drawn. We see something from each of the Tuesdays, although the film does, somewhat understandably, struggle to maintain the pace with which it begins.

Director Sophie Hyde is quick to point out that this isn’t a trans film- it’s a film which happens to have a trans character. It presents a myriad of viewpoints on family, relationships and sexuality, and all are handled with sensitivity and grace. The film has already been lauded, with Hyde picking up the World Cinema Dramatic Best Director award at Sundance and a Crystal Bear at Berlin. It’s a bracing portrait of a modern family and one that should be seen.

Variety (USA)


Boasts breakout talent in front of and behind the camera.

Hollywood Reporter


A fictional story with the textured authenticity of a docudrama... While some of the non-professional actors are a little stiff, cramping the film’s emotional breadth, the sensitively observed drama is distinguished by its structurally adventurous approach and the intimacy of its storytelling.

Urban Cinefile (Australia)


Certainly unique and that carries much creative weight; it also contains dramatic tension, but that is rationed and uneven.

At The Movies (Australia)


Strikingly unusual film... beautifully acted by Tilda Cobham-Harvey.

Sydney Morning Herald


The observational skills of the documentary maker show up again here. More surprising is the level of intimacy she achieves with her untried cast and unorthodox modus operandi.

Concrete Playground Sydney


A powerful and progressive piece of cinema that defies formal, social and narrative expectations

format compromising content

The video log format and the idea of decomposing the entire year into 52 tuesdays are fresh at the beginning, but soon fade into a drag.