film ideas, thoughts and experiences on how the world interacts with otherness
When we think of desire, we think of a very specific kind of longing. One which entraps us, obsesses and caresses us. In its most basic form, desire in that longing to obtain what often seems unobtainable. Indeed the origins of the word desire comes from desiderare, which means to await what the stars will bring.
While many view science fiction as a genre that is merely used as a way to predict what's coming, in today's political climate it feels like Transfinite no longer just inhabits the queer utopia solely through the confines of its screen, but brings us closer to the everyday reality that we collectively share and experience in 2020.
Major! (dir Annalise Ophelian, 2015) is a documentary that provides important context for how we have arrived at this pivotal moment in the pursuit of Black trans liberation, thru focusing on one of its most long standing and influential visionaries.
When watching, Funeral Parade of Roses as a trans person in the 21st century is to peer into the face of a scrying glass and see one’s reflection in another time and place. A shimmering, watery vision of our culture as it was then; in the way we wore our bodies and our genders, the words we used to define ourselves, the futures we foresaw for ourselves as fringe presences in flux against a radically shifting backdrop of social and cultural revolution.
What Angie and Tara demonstrate above all else is the multitude of experiences, identities and labels that populate trans life. There is no single defining characteristic or set of requirements that make someone trans, and whilst there is often disagreement—such as with Angie and Tara—over how to define trans existence, they are united in a rejection of—and desire to transform—the normative politics and ways-of-being that engender their suppression. Attempting to bridge this gap, Angie offers a resolution: “let’s say we’re the new women”.
None of these scenes are spectacular in themselves but the reason why it rly takes me into the blubber zone is that I’ve just honestly never seen trans narratives told like this before, and haven’t since, which is why Shinjuku Boys holds up so well 25 years later.