Queer cinema has always been in a state of continual evolution, but the evolution of trans depiction has come slower, even during agreed-upon golden eras of queer cinema. But in 2024, we are in the midst of a potentially new movement in which three trans-authored films are reshaping the possibilities of what a trans film looks like, and how transness can be expressed in cinema.
In the 21st century, Hollywood saw the potential money in telling more “authentic” mainstream queer stories due to the advent of the New Queer Cinema of the 1990s. This movement saw radical directors like Todd Haynes, Marlon Riggs, Gus Van Sant, Cheryl Dunye, and Gregg Araki reshape the concept of how queer cinema could function, and they made a name for themselves alongside the booming popularity of the Sundance Film Festival.
At the conclusion of the decade, Hilary Swank took home an Oscar for playing Brandon Teena in Boys Don’t Cry in a moment of misguided cross-gender casting. Boys Don’t Cry was considered an instant classic at the time, and its prominence as an image of the New Queer Cinema meant its Academy Award victory was a pivotal moment for queer cinema and trans depiction alike. While this film was not perceived to be conformist at the time of its release, it has since become a model of upholding the transgressive, negative concepts of trans film images of the past, obfuscating the reality of the trans masculine body, and consigning stories of transness to familiar modes of biological underpinning: mirrors, outings, reveals, and tragedy.
For queer cinema to be viable and artistically revolutionary, it must upend the status quo of form and depiction. In the case of transness, this means a reinvention of how trans films are conceived at a visual level. Many of the trans-authored films of 2024 are promising an exciting new way forward for the concept of trans cinema, which refutes those trends of the past or renegotiates their status in a modern context. This burgeoning period
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