Gus Van Sant's film begins with the politician Harvey Milk (Sean Penn) in 1978 recording recollections of his life, in the event that he would be assassinated, as the first gay Supervisor of America, fighting for the equal rights of Homosexuals. Eventually both Harvey Milk and Mayor George Moscone (Victor Garber) were murdered by a fellow politician Dan White (Josh Brolin), who wanted to rescind a decision about his resignation. The film traces Milk's life from the 1970s where he was an insurance salesman and met his lover Scott Smith in a train station, through to his opening of a camera store as a hippy, to his rise into government towards the end of the Seventies, where he led the defeat of Proposition 6: a law that would ensure that all gay school teachers, and even those that supported them and weren't homosexual, would be fired.

Milk is an inspiring and surprisingly emotional film, buoyed by a tremendous and unlikely performance by Sean Penn. Though the actor has made an appraised career from intensive and dramatic roles, as one of his best performances, he dissolves much of his anguish and all of his aggression here. He could not be any further from the territory of his Oscar winning performance in Mystic River, but through the changes in his voice and his mannerisms, his previous role becomes another chapter in his illustrious career and we are gradually immersed into the man Harvey Milk and his cause. Not only does he exude humour and femininity, but he is highly expressive of Milk's flamboyancy, his passion and enthusiasm of everything he believed in.

Surprisingly, it does take some times to enjoy the role. It is so unlikely and unusual to see Penn this flamboyant and yet eventually his tradition of immersing himself into performances becomes natural here and we are won over by Milk's cause and his charisma. The film places Milk on a pedestal for the most part – and why wouldn't it in expressing the support of equal rights? Although there are occasional hints of flaws in the man, like how he neglected many of his relationships for his work commitments. Penn performance is the centrepiece but he is surrounded by a wealth of fine actors too, such as Emile Hirsch (who worked with Penn on Into the Wild) as a fiery campaign worker, Milk's lover Scott Smith (James Franco), who feels pushed aside by Milk's work rather than their relationship, and Josh Brolin as Dan White, who has a smaller but more aggressive role than that of No Country For Old Men.

The film creates a great deal of tension by showing how much - or perhaps how little - society has changed in regards to homosexuality. It is difficult not to sneer when hearing politicians in the film say that homosexual school teachers will corrupt children, or when Dan White's wife, at the Christening of their child, suggests that talking about homosexuality 'isn't appropriate'. It is ironic to hear the ludicrous nature of these statements today given that we know people are more open minded about sexuality. At the same time however, the film is still a reminder to conservatives that homosexuals are still people and still deserving of their rights as much as anyone. That gay marriages are illegal in all but two states of America creates in reflection of the film an even more tragic death for Milk and all that he worked for. The film has an emotionally charged ending, but it remains in its own context and Van San resists the urge to mediate as to whether society has changed today or not. He recognises the audience's intelligence and instead provides the sight of thousands of people with lit candles and Milk's echoing words: 'you gotta give them hope'. We know for ourselves that this is an applicable reflection of the changes in the world today – particularly in the awake of the American governments change in administration. Thus the film is more than a piece of nostalgia, but rather a significant reminder that the world can still change for the better and we that have the power to make a difference. It is an inspiring and timeless scene, not just for homosexuals, but for all suppressed people.

Gus Van Sant's direction throughout Milk is mostly clear and concise. The integration of old footage is seamless at times and provides the nostalgia that the period of the film deserves. All of the actors too bear strong resemblances to their real-life counterparts, further accentuating the films authenticity. Only occasionally does the film become slightly bogged down in political jargon and policies, but it is not enough to diminish the power, the message and the themes of a very effective and purposefully acted film for everyone to see.