The Invisible Man
“Asian-American characters have the right to be whoever the hell they want to be.They don’t have to ‘represent their people.’” These are the words famously yelled byRoger Ebertat the 2002 Sundance Film Festival, in response to an audience member’s complaint that Justin’s Lin’s “Better Luck Tomorrow,” chronicling the illegal behavior of teenagers, was “empty and amoral” for Asian-American audiences.Ebert was offended to see a film featuring minorities both in front of and behind the camera being held to a higher moral standard than any picture made by and about straight white men.
I confess to feeling similar outrage when observing the recent attempts made to boycott films for illuminating facets of the transgender experience that fall outside the boundaries of what allegedly progressive commentators deem acceptable.The “cancel culture” currently torpedoing the reputation and IMDb rating ofRhys Ernst’s “Adam” is tantamount to the silencing of trans voices in media.Diversity must be expanded in all forms, not only in regards to who’s telling the stories that end up on screen, but in the stories they are allowed to tackle.As Jeanette, the mother of trans activist Jazz Jennings, once told me, “If my daughter wants to act, I hope she’s considered for all roles, not only those that are trans.”
“Adam” was formed by the collaboration between Ernst, a transgender filmmaker helming his feature directorial debut, and lesbian writerAriel Schrag, adapting her own graphic novel of the same name for her first movie screenplay.The titular protagonist of their film is a cisgender male played splendidly by owl-eyedNicholas Alexander, who resemblesWill Poulter’s kid brother.Feeling lost at sea amongst the hyper-masculine peers at his high school, he yearns to spend the summer with his older sister, Casey (Margaret Qualley), in New York City.Schrag sets her tale in 2006, a year etched in squirmy hand-drawn animation during the opening shot, reminding us of how little familiarity the majority of Americans had with trans narratives just over a decade ago.
It’s the year thatFelicity Huffmanreceived her Oscar nomination for “Transamerica,” a film that—like “Transparent,” the series Ernst produced—cast a cis actor as the trans lead, a move that would be flatly rejected by the LGBTQIA community today.Adam has no qualms with his sister’s queer orientation, which they laughingly conceal from their homophobic mother (Ana Gasteyer), yet he’s baffled upon arriving in Bushwick to see Casey dating a trans man (Maxton Miles Baeza).With her brother suddenly preoccupied with her boyfriend’s nether regions, Casey affirms, “Trans menarereal men!Having a penis has nothing to do with it.”
CinematographerShawn Petersfinds inventive ways of conveying Adam’s mounting unease, and the film cuts between him and Casey’s roommate, June (Chloë Levine), seated on opposite ends of a couch from which they’re eager to escape.We don’t get a full view of Casey making out with her boyfriend until editorJoe Murphycuts to a wide shot, forcing us—and Adam—to acknowledge what he’s strained to keep out of sight.Everything shifts once Adam attends a party, and finds himself instantly attracted to a youthful redhead, Gillian (non-binary actorBobbi Salvör Menuez).His shyness and vulnerability are so unmistakably genuine that Gillian takes a liking to him, even as he fibs about “accidentally” spilling a drink on her in a humiliating attempt at a forced meet-cute.
When Adam discovers that she has mistaken him for a trans man, he chooses not to correct her, initially claiming to be a 20-year-old enrolled at Berkeley.The deeper he falls for Gillian, the more committed he becomes to researching what it means to be transgender, watching endless videos online detailing personal experiences with surgeries and hormone therapy.Adam eventually loses his virginity to Gillian in a sequence that carries echoes of Swedish filmmaker Anette Sidor’s extraordinary short film, “Fuck You,” where a girl’s favoring of a strap-on subverts her boyfriend’s understanding of female pleasure.Though he’s wearing a strap-on over his own concealed genitalia, Adam climaxes all the same, and is left exhilarated by the intimacy he’s shared with Gillian, opening himself up to a form of sex that would’ve caused the bros back home to erupt in gay panic.
他们难忘的写照后Morgan Saylor在的嬉皮式的室友Elizabeth Wood的镀锌“White Girl” Menuez再次命令按屏幕每一次亮相，颇似一个年轻Julianne Moore不只是在外观上，但在细微之处不言而喻的是在他们的脸上登记层。我们感觉到已经落在阿娇的肩膀，之后她和她的女朋友打去参加舞会的夫妇在他们心胸狭窄俄克拉何马州城镇，造成了广泛宣传法律战期望的重量。当亚当即兴如何M.夜Shyamalan的名字往往相形见绌他的电影的标题，阿娇巧妙地比作是如何术语“同性恋”定义她的身份时，已经取代了所有其他人。
一边看我没有笑了一大堆“亚当”，但我从未低于完全啮合，并且通过结束时，我感到已经看到了感激。在an excellent defense of the film最近发表在在diewire，transmasculine作家裘德干解释了它的启示感觉“是个男孩顺的脑子里面谁积极desired是反式“。 Having grown up emulating the cisgender identities that have dominated screens both large and small, Ernst has flipped the narrative by having a cis character emulate “trans-ness,” causing him to learn things about himself that would’ve otherwise been left hidden and repressed.恩斯特不觉得在道义上有义务仅描绘的行为在屏幕上，他赞同，也不应该任何导演，对于这个问题。这样的限制是本领域的对立面。
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