#trans film

[victorianlonging]

i saw the tv glow said to come out you have to kill a part of yourself, the version of yourself you've created to protect yourself, the imaginary vision of yourself that was fed to you

[celluloidrainbow]

GENDER TROUBLEMAKERS (1993) dir. Mirha-Soleil Ross & Xanthra Mackay What happens when two Transdykes get sick of non-transsexual's uninformed representation of their sexualities and their lives? They grab their 8 millimeter home video camera, their last 200 bucks, and come up with an uncompromising in-your-face flick about their shitty relationships with gay men and their unabashed attraction to other trans women. (link in title)

[queerasfact]

We have to be really clear on the fact that the rigidity that we face in present times, from relationship to gender, is a modern construct that comes very much from the colonial forces primarily through religion. That rigidity reflects more so that colonial imprint than it does any historical accuracy, because historically many indigenous cultures left room for much more than the binary.

-Saul Williams, director of Rwandan sci-fi musical Neptune Frost

We had such a wonderful and illuminating time this week watching and talking about the Afro-futurist movie Neptune Frost, which explores the journey of genderqueer Neptune and coltan miner Matalusa, and their blossoming relationships amongst a Rwandan hacker commune.

If you're keen to watch more sci-fi, or more African cinema, I'd definitely recommend it. We were able to get it free on Kanopy through our local library!

Check out our podcast on the film if you'd like to hear some more in-depth background on its creation.

[phantom-of-the-memes]

Watched “I saw the tv glow” last night and enjoyed every second of the beautiful and extremely emotional film.

Then today I went online to see some posts about it, to you know, hear what people had to say, see some fanart/ edits. Only to feel like I had landed in an alternate universe where everyone had seen a completely different movie with a different meaning.

Why is everyone calling Isobel Owen and using he/ him pronouns? Her name is Isobel and she uses she/ her pronouns… that was the entire point of the movie… she’s trans. There’s no ambiguity about it. It is literally spelled out.

Tara and Isobel in the pink opaque are their true selves. When Tara comes back to rescue Isobel from their small bigoted home town, and her abusive father, she is calling her Isobel. When she’s explaining in the bar that it wasn’t just a show for them, we see Isobel wearing the dress the character in the pink opaque wears and doing what her character does.

She went by Isobel with Tara while they were exploring who they truly are. She only stopped because she was scared to be herself and run away with Tara. The ending is what happens when a trans person chooses to suppress themselves and stay in the conservative hometown. They “suffocate”.

[weirdstuffinthewoods]

Jane Schoenbrun and the Screen Trilogy

Director Jane Schoenbrun’s “Screen Trilogy” seems set to define a period that feels deeply personal to those whose adolescence was shaped by the meteoric rise of the internet and the isolating comfort of technology.

Using a cohesive blend of glowing cool-toned hues, long, lingering shots, and scores and soundtracks that perfectly evoke teen ennui and lonely melancholy, Schoenbrun has used the allure of the screen to craft dreamlike meditations on identity, isolation, and transness that leave viewers feeling so seen.

A quick glance at the tumblr tag, letterboxd reviews, or TikTok videos shows one common thread: Thank you, Jane. And it's well-earned from the beginning. (More under the cut)

With the first installment of the Screen Trilogy, Schoenbrun tackles the questioning of identity through fears generated from unrestricted childhood internet access (something that usually gave the millennial generation something we can never unsee). we’re all going to the world’s fair follows Casey, a teen who partakes in the viral World’s Fair Challenge that leads to an ambiguous separation of self that leaves the audience questioning whether Casey was truly losing herself or merely participating in an elaborate, creepypasta-fueled MMORPG. When speaking about the film with The Hollywood Reporter, Schoenbrun says,

“It really resonated and reminded me of something I went looking for online in my own youth, which was an effort to remove myself from my body and my identity and exist in a space where I could express myself creatively, and perhaps even explore myself personally, outside of ‘the real world.’”

Casey mentions at one point that she can feel herself leaving her body, adding to the overarching theme of dysphoria.

This and many other vulnerable moments are shared through video which is really the only way the audience gets to know Casey, a key piece of information when JLB comes into play. Like us, JLB sees Casey expressing a number of concerning symptoms and thoughts. JLB reaches out to Casey, an adult man reaching out to “save” a teenager he knows nothing about. The adolescents of the internet age know this character all too well.

Between the unspoken disquiet of JLB’s “guardianship” and the time spent with Casey out in the barn in the middle of the night watching ASMR videos with her stuffed lemur, Poe, Schoenbrun’s work reaches out to the kids who, like them, found solace on the internet. We found a world that was bigger than our little towns, we found ways to self-soothe (visual stim videos come to mind as the new ASMR), and sometimes we found people like JLB (we basically made Chris Hansen the hero he is- we love Chris Hansen). For the first time, the isolated, sometimes trans or questioning, internet kid in us felt seen.

Schoenbrun slapped us with nostalgia again in 2024’s I Saw the TV Glow, a magenta-saturated amalgamation of teenage ennui and suburban melancholy that pushes through your ribcage, reaching for your heart without you even noticing until 2/3 of the way through, your frantically beating heart is ripped from your chest among screaming tv static and sparks, leaving you silent in the face of wails of unimaginable pain and need.

Soft-spoken 7th grader Owen meets 9th grader Maddy who’s reading the episode guide for The Pink Opaque- a Buffy-style 90s paranormal teen show Owen has only caught glimpses of, but that he’s totally fascinated with. The two watch an episode together, and as Maddy leaves Owen tape after tape to watch on his own, the pull of The Pink Opaque becomes impossible to ignore.

Schoenbrun is open about it- “I really did live and breathe Buffy the Vampire Slayer. I cared about Buffy more than I cared about my real life”. The same was true for a lot of us. Millennial kids weren’t quite the latchkey kids of the 80s but also weren’t yet the iPad kids of the late 00s. Parents were still learning how to parent and were either too controlling (like Owen’s parents) or too absent (like Maddy’s). Piggybacking on the theme of identity from world’s fair, the kids that didn’t see themselves reflected in popular media or the cliques at school would become masters of escapism, using books, movies, or TV shows like Buffy (it was Charmed for me) to create an inner world where they felt safe, wanted, seen.

Where world’s fair is about the loss and search for identity, I Saw the TV Glow tackles the question of “what next?” What do you do when you know time isn’t moving right, that life isn’t supposed to feel like this? When you learn exactly how to fix it but it sounds absolutely terrifying and insane?

Maddy has no hesitation. “I’m getting out of this town…I’ll die if I stay here. I don’t know how or when exactly, but I know it’s true.” Owen, like Isabel in The Pink Opaque, Maddy says, is afraid of what’s inside him. In Variety, Schoenbrun comments on their differences.

“What we experience through Maddy is this ultimate self-liberation: you have to destroy yourself totally in order to be reborn as who you really are. … Maddy knows that there’s somewhere where she can be full and it’s not worth staying in this place.”

The film encloses a number of deeply disturbing, viscerally upsetting scenes in monologues that connect the audience with feelings of dysphoria, of the disjointed way trans people experience time, and the fear of that time running out in conjunction with the fear of the future. Like world’s fair, the conclusion is ambiguous, but more hopeful in its way. It acknowledges the pain, the fear, the sheer exhaustion of transitioning, but proves it as a method of survival, and reassures the audience, “there is still time”, before leaving them with a cut to pink static where they can cry it out to some Frances Quinlan.

Not too much is known about their third installment, Teenage Sex and Death at Camp Miasma, but Schoenbrun explains that it both pays homage to and critiques the lineage of trans and queer villains as sexual deviants. The New Yorker sums it up as follows:

“[Teenage Sex and Death at Camp Miasma] follows a queer filmmaker hired to direct a new installment of a long-running slasher franchise. The director fixates on the prospect of casting the “final girl” from the original movie, and the two women descend into a frenzy of psychosexual mania.”

Slated to be gorier and funnier (thank God) than the previous installments, Schoenbrun is now turning to the aftermath of transition and the reclaiming of identity through sex, an important and often overlooked facet of transness. They’ve also sold a book, Public Access Afterworld, originally meant to be a TV show but now taken down in literary form. Schoenbrun hopes it will rival franchises like Sandman or Lord of the Rings in its scope, finally giving trans media an epic of its own.

All this fan can say is I can’t wait.

Sources:

Jane Schoenbrun Finds Horror Close to Home | The New Yorker

'I Saw the TV Glow' Director Jane Schoenbrun on A24 Film's Trans Meaning (variety.com)

How We’re All Going to the World’s Fair Grew Out of Internet’s Subconscious (hollywoodreporter.com)

[fanboy-feminist]

Straight up Jorking It. And by “Jorking,” I mean “Journaling.” And by “It,” I mean “All My Thoughts About Jane Schoenbrun’s 2024 Film I Saw The TV Glow.”

[kissmewithyourfists]

Why did you choose this life?

[autostraddle]

"Emilia Pérez is a glorious disaster. Not since Xavier Dolan’s Laurence Anyways has a trans film been so bold and so boring all at once."

[itgetsbetterproject]

🏳️‍⚧️ NEW TRANS FILM ALERT AND IT'S TOOO GOOD! 🏳️‍⚧️

"Within the space of 24 hours, Feña is swept through the extremes of human emotion when people who seemed to disappear when he transitioned are suddenly back in his life."

“ONE OF THE BEST FILMS ABOUT POST-TRANSITION ADJUSTMENT.”

“I HOPE SOMEDAY A TRANS PERSON IS HAVING A CLICHÉ TALK WITH THEIR PARENT AND THINKS, “MY GOD. I FEEL LIKE I’M IN MUTT.”

Here's where it's showing across the U.S.: muttthefilm.com/us-theaters

[emma-dennehy-presents]

Celebrating Black Queer Icons:

Tourmaline

Tourmaline (formerly known/credited as Reian Gossett)is a trans woman that actively identifies as queer, and is best known for her work in trans activism and economic justice. Tourmaline was born July 20, 1983, in the Commonwealth of Massachusetts. Tourmaline's mother was a feminist and union organizer, her father a self defense instructor and anti-imprisonment advocate. Growing up in this atmosphere allowed Tourmaline to explore her identity and encouraged her to fight in what she believes in. Tourmaline has earned a BA in Comparative Ethnic Studies, from Colombia University. During her time at Colombia U, Tourmaline taught creative writing courses to inmates at Riker's Island Correctional Institute, through a school program known as Island Academy. Tourmaline has worked with many groups and organizations in her pursuit of justice. She served as the Membership Coordinator for Queers For Economic Justice, Director of Membership at the Sylvia Rivera Law Project, and as a Featured Speaker for GLAAD. Tourmaline also works as a historian and archivist for drag queens and trans people associated with the 1969 Stonewall Inn Uprising. She started doing this after noticing how little trans material was being archived, saying that what little did get archived was done so accidentally. In 2010 Tourmaline began her work in film by gathering oral histories from queer New Yorkers for Kagendo Murungi's Taking Freedom Home. In 2016 Tourmaline directed her first film The Personal Things, which featured trans elder Miss Major Griffin-Gracy. For the film Tourmaline was awarded the 2017 Queer Art Prize. Tourmaline served as the Assistant Director to Dee Rees on the Golden Globe nominated historical drama, Mudbound. Tourmaline has co produced two projects with fellow filmmaker and activist Sasha Wortzel. The first was STAR People Are Beautiful, about the work of Sylvia Rivera and Street Transvestite Action Revolutionaries. The second was Happy Birthday, Marsha, about Marsha P Johnson. Happy Birthday, Marsha had all trans roles played by trans actors. Tourmaline's work is featured or archived in several major museums and galleries. In 2017 her work was featured in New Museum's exhibit Trigger: Gender as a Tool and a Weapon. In 2020 the Museum of Modern Art acquired Tourmaline's 2019 film Salacia, a project about Mary Jones. In 2021 the Metropolitan Museum of Art acquired two of Tourmaline's works for display in Before Yesterday We Could Fly: An Afrofuturist Period Room. Tourmaline is also the sibling of:

Che Gossett

Che Gossett is a nonbinary, trans femme writer and archivist. Gossett specializes in queer/trans studies, aesthetic theory, abolitionist thought and black study. Gossett received a Doctorate in Women's and Gender Studies, from Rutgers University, in 2021. They have also received a BA in African American Studies from Morehouse college, a MAT in Social Studios from Brown University, and a MA in History from the University of Pennsylvania. Gossett has held a fellowship at Yale, and currently holds fellowships at Harvard, Oxford, and Cambridge. Gossett's writing has been published in a number of anthologies and they have lectured and performed at several museums and galleries of note, including the Museum of Modern Art and A.I.R. Gallery. Gossett is currently working on finishing a political biography of queer Japanese-American AIDS activist Kiyoshi Kuromiya.

I originally intended to do separate profiles for Che Gossett Tourmaline, but could not find sufficient information about Che Gossett, beyond their credentials and current academic activity. That means that this will be the last of these write ups for a bit. I plan on picking it back up in October for the US's LGBT History Month and UK's Black History month. With time to plan ahead and research more I hope to diversify my list geographically and improve formatting. I plan on starting to include cis icons as well, like Rustin Bayard. If you come across this or any other of these posts Ive made this month I would love feedback and suggestions for figures you would like to see covered.

[not-xpr-art]

Tomboy - digital painting ~

(11/2023)

Part of my 2024 Pride month art project where I celebrate some of my fav queer films!

And this piece is also in my artbook 'picturesQue' featuring all my queer film arts from the last few years!

[celluloidrainbow]

SEAHORSE (2019) dir. Jeanie Finlay Freddy is a 30-years-old gay transgender man who yearns to start a family, but for him this ordinary desire comes with unique challenges. Deciding to carry his own baby took years of soul searching, but nothing could prepare him for the reality of pregnancy, as both a physical experience and one that challenges society's fundamental understanding of gender, parenthood and family. (link in title)

[mariwatchesmovies]

Monica (2022) dir. Andrea Pallaoro

[weirdstuffinthewoods]

If you can’t tell by my mere PRESENCE back on this blog, I’m going to try and commit to binary code my experience with I Saw The TV Glow and its place in our world. Maybe tomorrow. Probably in fits and starts over the next week. I’m just so emotionally spent. I’m just sitting in bed with the soundtrack on repeat, desperately trying to remember the things I used to love to do and discover the things that will make me feel real.

[malinkymax]

Ed Wood starring in Glen or Glenda (1953)

[kissmewithyourfists]

We'd listen to the rain. The two of us.