A high school gym teacher grappling with her sexual identity is challenged on both a micro and macro level in 1988 England in “Blue Jean,” a quietly complex portrait of compartmentalization and self-actualization.

In October 1987, British Prime Minister Margaret Thatcher gave a speech in which she bemoaned the state of education and said that “children who need to be taught to respect traditional moral values are being taught that they have an inalienable right to be gay.” This was just part of her critique of the state of education and the agenda of “extremist teachers” pushing “political slogans” and “anti-racist mathematics” who are cheating children out of a “sound start in life.” By May 1988, a law was passed, Section 28, that would “prohibit the promotion of homosexuality” and would remain in effect in some form until 2003.

“Blue Jean” is the assured directorial debut of Georgia Oakley, who focuses her script not on the women who went out to protest as the House of Lords debated Section 28, but on one who was still coming to terms with her own identity. Jean (Rosy McEwen) is not political and keeps her private life to herself. But she’s also one whose livelihood would be directly threatened by the law. Her journey in the film is a human one — there are mistakes, deep regrets and casualties — and it’s her flaws that make her relatable. She is not, in other words, exactly an inspirational hero.

At the beginning, Jean leads a quiet life. She lives alone in an apartment, teaches gym to high school students and coaches the girls’ netball team. She loves her work but keeps a distance from both students and her fellow teachers, eating by herself at lunch and declining persistent requests to go out for a pint after work. Some nights she meets up with her girlfriend, Viv (Kerrie Hayes), and a group of other lesbians at an underground bar. Unlike Jean, these women are out and proud. When an older woman sneers at Jean and Viv eating together, Jean shrinks while Viv goes on the offensive. In the background, radio news broadcasts speak about the looming Section 28.

The message Jean takes from all of this is to hide. But then a new girl arrives at school, Lois (Lucy Halliday), who is also gay, and Jean’s segregated life starts to crumble, especially after Lois sees her out with Viv, and Jean retreats further into herself. Is it her responsibility to protect or guide Lois through this aspect of her life? Jean makes a shocking decision before the end of the film.

Jean is both an introvert and a product of her environment — she doesn’t speak to her mother anymore and her more conservative, heterosexual sister’s attempts at supporting Jean mostly make her feel worse. She scolds Jean for exposing her 5-year-old son to Viv, even though she drops the child off at her apartment without any warning. Jean is also scolded by Viv for telling her nephew that she’s “a friend.”

Oakley said she wanted to present a protagonist “without glamorization or misrepresentation,” inspired by filmmakers like Kelly Reichardt and Chantal Akerman. “Blue Jean” is a perfect film to debut during Pride Month. It’s a reminder of the recent past and the generational effects of institutionalized homophobia.

No MPA rating

Running time: 1:37

How to watch: In select theaters