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52 Tuesdays (2013)

Not Rated | | Drama | 1 May 2014 (Australia)
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16-year-old Billie's reluctant path to independence is accelerated when her mother reveals plans to gender transition and their time together becomes limited to Tuesday afternoons.



(screenplay), (story) | 1 more credit »
10 wins & 18 nominations. See more awards »


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Cast overview, first billed only:
Sam Althuizen ...
Imogen Archer ...
Del Herbert-Jane ...
Beau Travis Williams ...
Mario Späte ...
Greg Marsh ...
Audrey Mason-Hyde ...
Danica Moors ...
Sam Harding ...
Peepshow Dancer
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Susie Skinner ...
Jasmin's Mother
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Josh's Mother


16-year-old Billie's reluctant path to independence is accelerated when her mother reveals plans to gender transition and their time together becomes limited to Tuesday afternoons.

Plot Summary | Add Synopsis


One day a week, every week, for a year See more »




Not Rated | See all certifications »

Parents Guide:





Release Date:

1 May 2014 (Australia)  »

Also Known As:

52 Yemei shlishi  »

Company Credits

Production Co:

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Technical Specs



Aspect Ratio:

2.35 : 1
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Did You Know?


The film won the prestigious Crystal Bear Award (Generation 14plus - Best Film) at the Berlin Film Festival in 2014. The fest's notes for this accolade were: "The situation is exceptional but familiar. This year's winning movie is both surprising and touching. It is a movie about family and the quest for identity, and despite all the conflicts, the protagonists stay connected through their love to each other. The moving story is presented in a fascinating structure and convinces with strong characters, humour, clever ideas and sensitivity." See more »


James: A year is a long time especially at your age.
See more »


Referenced in Gag Reel (2014) See more »


1000 Synths
Written/Composed by C. Lippis, A. Zamat, G. Crowther
Performed by Le Grande Saucier
See more »

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User Reviews

growing up now
12 August 2015 | by See all my reviews

A high school girl begins a year of sexual experimentation when her mother decides to become a man, and two older schoolmates invite her into their bohemian clique.

This Australian indie captivates through the performances of the young leads. Tilda Cobham-Hervey as Billie, the young woman who has to cope with parental separation, mum's transgender crises, and her own burgeoning sexual awareness, is riveting, a natural beauty who is testing her own strengths and boundaries. Dad (Beau Travis Williams) is over-eager to accommodate everyone, while James (as Mum now wishes to be called) is completely self-absorbed, documenting her transformation and spending the Tuesdays together with his/her daughter only talking about her/his own issues. Little wonder Billie creates a secret space and time to nurture and document her own transformation. These naturalistic, sweet but painful scenes of emerging with the three teenagers are the film's most authentic and touching. Sam Althuizen as Josh remains a mystery, a boy included for his gender more than his personality. The beguiling Jasmine (Imogen Archer) has her own family issues, and provides a brake to any self-pity Billie might be tempted to indulge in.

Del Herbert-Jane as Jane/James embodies the fluidity in gender identification that is the film's key motif. She has a fractious relationship with her own sexually ambiguous brother Harry (Mario Späte), the film's only truly annoying character, a product both of characterisation and performance. That motif is somewhat overplayed. It is deft when the characters all sport fake facial hair for a family goof around, but is hammered home in the changing facial hair fortunes of Dad, who seems to have a different degree of beard for every scene.

Billie's movie-within-a-movie works well and is in keeping with the digital nativization of teenagers of the period. Plot is less well-handled - a rush of all the characters to the hospital seems forced, and Billie's way of marking the conclusion of the one-year separation from Mum rather too showy. The uncle's interventions also seem random and intended to inject drama rather than emerging from character. But as a rites of passage tale the film triumphs, crucially on the casting and performance of Cobham-Hervey. Reminiscent of Kiera Knightley at her best, this young actress is one to watch.

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