Professor Marston and the Wonder Women (2017)

While Robinson’s film does fall into the usual trappings of biopic beats, its subject can’t help but transcend them.

Evans, Hall, and Heathcote exhibit major chemistry (in every permutation) possible, but they also don’t wink at the storyline, playing a provocative story totally straight.

Many rough edges are smoothed by the strong acting and well-done tech work.

In a way, though, Robinson’s less-edgy aesthetic is even more subversive than graphic sexuality. By treating the Marstons’ lovemaking the same way arthouse movies have treated heterosexual couples for decades, she refuses to portray them as aberrant or abnormal.

Angela Robinson, who wrote and directed the film, has managed to take what could have been a tawdry or salacious look into Wonder Woman’s naughty roots and give her real-life characters – and their genuine love for each other – the same amount of respect that any vanilla, monogamous heterosexual historical figure would receive.