Miguel/Mel, a male-presenting character played by German actress Anjorka Strechel, begins a relationship with a girl and faces expectations of heterosexual womanhood from family. Mein Freund aus Faro (My Friend from Faro) Film 2008 Deutschland (Germany) Miguel/Mel, a male-presenting character played by German actress Anjorka Strechel, begins a relationship with a girl and faces expectations of heterosexual womanhood from family. Trailer. Available Summary: Melanie meets Jenny and falls in love. But Jenny thinks she's met Miguel. -IMDb. Jack's Summary: My Friend from Faro is set in rural Germany in the early 2000s, where the age of consent is fourteen. The protagonist, known as Mel by family and employers, is a bored catering worker who befriends a new worker by the name of Nuno, mimicking his masculine mannerisms, fascinated by his style and confidence. At home, living with a brother and father, Mel is resisting pressure to get a boyfriend and present/act more femininely. Miguel and Jenny at a nightclub. One night, when Mel is out driving, a fourteen-year-old girl named Jenny jumps in front of Mel's car. Though uninjured, as Mel brakes in time, Jenny suggests that Mel drive her and her friend to a nightclub to make up for the accident. At the nightclub, the three drink alcohol and introduce themselves properly. Jenny lies about her age, saying that she is sixteen years old. Mel spontaneously chooses the name Miguel, wanting Jenny to view him as a male. He also lies about his age, saying that he is eighteen when he is actually twenty-two; a fact which is not revealed until the end of the film. Miguel quickly develops feelings for Jenny, believing her to be above the age of consent (while still much younger than him), but cannot bring himself to come out to his family. As for what he would come out as... Miguel feels pressure to wear feminine clothing. ...Miguel's gender is never actually labelled. The DVD cover itself features a review from Variety that says, "Imagine Boys Don't Cry with a happy ending... A sweet-natured coming-of-ager." So, the female-to-male themes are certainly present, but with far more ambiguity than the fictional depiction of Brandon Teena's life. The viewer gets to decide whether Mel/Miguel is assuming the male role because it's the only role offered by society which allows her to be her masculine lesbian self or, like Brandon, he is actually a trans male. This could easily be a film about a trans man, a butch lesbian, a transmasculine person of another description, etc. Nuno teasing Miguel. Back to the plot... To maintain the image of himself as a heterosexual woman, Miguel pays Nuno to pretend to be his boyfriend at a family dinner, and also forces himself to wear feminine clothing which makes him intensely uncomfortable. He works very hard to live a double life. Though the lies quickly unravel, his friendship with Nuno deepens, and he builds a genuine friendship with his coworker. Miguel, read as a male, experiencing biphobia/homophobia. Miguel tries to develop a relationship with Jenny, much to the amusement and anger of aggressive young men in Jenny's life. These same men call Miguel homophobic slurs when they see Nuno embracing Miguel as they walk, assuming Miguel to be a gay or bisexual cis man. This scene mirrors real-life stories I've heard from gender non-conforming people who accidentally pass as men, and are surprised when platonic affection with men is consequently read as gay, provoking hostility. (Hida, an intersex non-binary person in Gendernauts , described similar experiences.) This in-between place which Miguel is in, viewed as a woman by some and as a man by others, is one aspect of the film that I find very compelling. Miguel and Jenny at the beach. While on a date, Miguel has oral sex with Jenny at a public beach. While it was an encounter which would appear lovely and romantic out of context, the scene felt uncomfortable for me to watch. Look, I'll be honest; the age of consent in my country is 18, and the idea of a 14-year-old child having sex with anyone (let alone someone several years older than them, and in a public space) seems gross. That's my cultural context. You are free to form your own opinions. Miguel coming out. Inevitably, Miguel finds out that Jenny lied about her age, and he breaks up with her. She pursues him anyway, insisting that she still loves him, literally chasing him into the forest as he tries to make her leave. Desperate for her to understand that their relationship is untenable, he "comes out" to her by undressing and letting her see his naked body (an eye-roll-worthy trope for trans and crossdressing characters), after which she hugs him and then runs away. She is then shown having a crisis of identity, wondering whether being attracted to Miguel makes her a lesbian. Word spreads that Miguel is "Mel". When he meets with Jenny, one final time, the pair are set upon by the afore-mentioned group of aggressive men, one of whom is having sex with Jenny's fourteen-year-old friend, with full awareness of her age. They spray-paint a lesbophobic slur on Miguel's car, verbally call Miguel slurs, physically assault him, and begin to sexually assault him before Miguel fights back and flees. Miguel, still bruised and bloody, farewelling his father. Though Jenny insists that she still loves Miguel and wants to be with him regardless of his physical sex, he leaves the town and drives meet Nuno, the pair fleeing for Portugal. It isn't a happy ending in the typical sense, and the film is pretty messy, but I did admittedly love Mel/Miguel's explorations of gender and presentation. But wait, there's more... When rewatching the film a few years after my first viewing, I read an interview with Nana Neul, director of My Friend from Faro . The following excerpt revealed more about Mel/Miguel's gender: INTERVIEWER: Many comparisons have been made with Boys Don't Cry . Had you seen the film before you made My Friend from Faro ? NEUL: Of course. I really love this film, but with My Friend from Faro I wanted to tell a love story with, at least in some way, an optimistic ending. You could say that My Friend from Faro is a kind of prologue for Boys Don't Cry , because my main character Mel hasn't already found her way in life when the film starts. She doesn't know whether she wants to live as a girl or as a boy, and where her love for Jenny is going to take her. That really confirms the ambiguity of Mel/Miguel's gender, and explains why the character might be relatable to people of differing identities. Another excerpt revealed something which deepened my discomfort with the film: INTERVIEWER: Lucie Hollman [who played Jenny] was only thirteen when you made the film, what was it like for her? NEUL: She was no beginner on the set! She behaved very professionally. But when I wanted to rehearse the love scene, she said she would only kiss Miguel in front of the rolling camera. So this was exciting, but it worked. It was her first kiss, as she told me! I really loved the pureness of her acting. The love story was something special for Lucie, something new. She was such an angel. And so it's a film about first love, and a first kiss! To put it plainly, the romance in this film is portrayed by thirteen-year-old actress and a twenty-four-year-old actress. The "love scene," as Nuel calls it, shows nothing more revealing than an abdomen being kissed (hopefully a body double's abdomen), but the actress' ages place My Friend from Faro firmly in my personal category of films which shouldn't be made today. My Friend from Faro is not alone in this category, by any means. Mid90s (2018) cast a twelve-year-old boy as the love interest of a twenty-six-year-old actress. My Father the Hero (1994) cast a fourteen-year-old girl as the love interest of a twenty-two-year-old actor. Blank Check (1994) portrays romantic love, and a kiss, between an eleven-year-old boy and a thirty-one-year-old actress. The list, unfortunately, goes on. One of my favourite films is Mysterious Skin (2004), and a key reason that I adore it is because the filmmakers managed to portray child abuse realistically and movingly, while also protecting the child actors and going to great lengths to shield them from the topics of the movie. Whenever child actors are involved in a production, particularly anything sexual, it feels important to know that they were not exposed to sexual themes... to me, anyway. You are free to make up your own mind about the casting of underage actors. I know that some still view even Pretty Baby (1978) as a wonderful classic which doesn't glorify paedophilia, so perhaps my discomfort may seem quaint! Entry last updated: 8 Feb 2026

Theo, who began the series as Susie, is a teenage trans boy played by American non-binary actor Lachlan Watson. He is sexually attracted to guys and gets a boyfriend later in the show. Chilling Adventures of Sabrina Show 2018 United States of America Theo, who began the series as Susie, is a teenage trans boy played by American non-binary actor Lachlan Watson. He is sexually attracted to guys and gets a boyfriend later in the show. Available Summary: Chilling Adventures of Sabrina is an American supernatural horror television series developed by Roberto Aguirre-Sacasa for Netflix, based on the Archie comic book series of the same name... It is set in the fictional town of Greendale. It is a dark coming-of-age story that includes horror, fear and witchcraft. Sabrina Spellman must reconcile her dual nature as a half-witch, half-mortal while fighting the evil forces that threaten her, her family, and the daylight world humans inhabit. -Wikipedia. Jack's Summary: At the beginning of Chilling Adventures of Sabrina, viewers are introduced to "Susie", who is actually a closeted trans boy not freely able to explore his identity. He is played by Lachlan Watson , a trans non-binary actor. The series itself is a weird mix of juvenile and violent (I'm still not sure what its target audience is), but many young folks will likely relate to depictions of dysphoria, same-gender attraction, and masculinity in a trans kid. That being said, hate crimes and sexual harassment are immediately tied to Theo's character arc, and he has to endure some pretty awful experiences before being afforded a cute romance and less violent scenes. Theo in episode 1. The writers waste no time establishing "Susie" as the punching bag of aggressive cis guys. In the very first episode, Sabrina finds him crying alone in the locker room after being hit in the face and sexually assaulted. The jocks who exist solely to torment Theo. In season 2, Theo is sexually harassed while trying to use the boy's changing room, by the same jocks established as antagonists in episode 1. They stare directly at him, deadname him, and say they're "waiting for the show to start" before encouraging him to undress entirely. Later, they fill his locker with menstrual pads and tampons. He's also repeatedly targeted with a lesbophobic slur. Theo coming out to his friends. He comes out to other main characters after a basketball game, during which he beats cis guys with the help of Sabrina, the central character with magical powers. She uses spells to make him shoot the ball perfectly and easily dodge other players, when he was previously unable to play the game at all. This led to criticism from within and outside the trans community, especially from trans guys who were frustrated by the implications of a trans boy being weak and powerless unless he resorts to cheating. I personally agree with this criticism. Dorothea Putnam. Theo chose his new name after his relative, Dorothea Putnam. Dorothea, a masculine-presenting ghost, appears solely to Theo and offers endearments like "brave boy" before Theo has even taken steps to voice his gender identity. This spiritual link and storyline was pretty fascinating but, to my disappointment, the writers didn't explore the Putnam connection very deeply at all. We learn that Theo has an ancestor who dressed "like a man" and helped both witches and mortals escape persecution, but that's about it. Part of the reason I was so interested in Dorothea Putnam was because the Digital Transgender Archive has photographs of a real-life Dorothy Putnam "crossdressing" in masculine attire. Chilling Adventures of Sabrina overall weaves real-life history with fictional timelines, but it's not clear whether Theo's ancestor is inspired by Dorothy Putnam and/or Ann Putnam, an accuser in the Salem Witch Trials. Jesse, a gay man. The only other gender non-conforming character in the show is Theo's uncle, Jesse Putnam. He gets possessed by a demon which refers to him a "sodomite" and an "abomination", citing these qualities as the reason Jesse is the ideal host. Theo's father, brother to Jesse, mentions that Jesse wore their mother's dresses when he was young, leading to physical abuse when he was caught doing so by his father. This behaviour and his attraction to men are referred to as "proclivities". Given the fact that Jesse spends his episodes foaming at the mouth, snarling curses, and then being tortured in the afterlife, this isn't exactly top-tier representation. "I'm not an abomination, Sabrina, and I won't be one." As a result of being psychologically tormented by a possessed Jesse, Theo struggles with his gender identity and becomes ashamed, forcing himself to wear feminine dresses for a short time. Theo meeting Ruth. The only other character to recognise Theo's gender before he comes out is Ruth Walker, a blind woman with psychic powers. She calls him "handsome fellow" and refers to him with he/him/his pronouns. I appreciated the implication that Theo's male gender has always been innate, and that characters with special abilities could sense that part of him. Theo telling his dad the truth. I also enjoyed the scene where Theo comes out to his dad. It's the right balance of positive and realistic, with Theo remaining determined and calm despite his father's initial unwillingness to listen. Joe, Theo's dad, supports him despite feeling confused, and takes him to get a new haircut. That's the end of the story, when it comes to Theo's family journey. We don't see much of Joe beyond that point, beyond the occasional scene, which I enjoy. Theo is allowed to be himself, and there's no extra violence or family conflict which is piled onto him... which is fortunate, considering how much shit Theo faces, courtesy of his classmates. I don't personally think the transphobia directed at Theo is cheap or needless, especially since Theo is afforded an actual personality later on, including hobbies (drumming, singing) and sexual desire (towards other boys). He becomes less of a token character as the show progresses, gaining strength and physically standing up for his friends. The violence directed at him might upset some viewers but, if you want to see a trans boy triumph over transphobic people, this show will provide that. Speaking of Theo's bullies, it's important to discuss one bully in particular; a young man named Billy, who physically abuses and sexually harasses Theo. The show fails to treat the sexual abuse of cis boys/men seriously, and this is especially apparent in Billy's character arc, despite him being framed as the aggressor in most scenes. Before I delve deeply into the issue, I highly recommend the 1in6 Survivor Stories page, to get a better and more realistic understanding of how abuse actually affects boys and men. Hilda Spellman talking about Billy's childhood. To defend Theo, Hilda Spellman outs Billy as a survivor of CA (child abuse), in order to humiliate and humble him. It's heavily implied that he, specifically, was the victim of CSA (child sexual abuse). The abuse occurred at the hands of other boys, and was extreme enough that it provoked violent denial from his family, to the point that his mother washed his mouth out with detergent until he stopped trying to seek help from anybody. This awful, confronting revelation is glossed over. At most, viewers are encouraged to laugh at Billy's vulnerability and deep emotional scars, rather than considering the sickening hypocrisy of outing a CA survivor in the name of supporting another young person. In the same conversation, just for good measure, Hilda outs another young man as being attracted to Billy. Worst of all, in a separate scene, Sabrina uses magic to force Billy to kiss and grope his male friend. She takes a photograph of this occurring and uses it as blackmail to stop him bullying others. He, and his jock friends, are all placed in this non-consensual situation by Sabrina, and this is supposedly a... funny... moment. Even when viewers find out about Billy's history of being abused by his peers, no thought is given to how he must have consequently felt when Sabrina forced him into a situation where he was being kissed and touched without his consent, by his peer. So, to recap... Billy is a survivor of CA, and likely CSA. Either way, he was abused by males at just eleven years of age. The writers (through Hilda's dialogue) assert that, because he was abused, he became an abuser. The answer to this, apparently, is to make a teenage Billy the target of further non-consensual intimacy with a male, and blackmail him over that touching. Pretty fucking horrible, right? Beyond the apathy shown towards Billy's trauma, his arc echoes an old, harmful myth that boys/men who survive CSA automatically become abusive themselves. This is just one example of how Chilling Adventures of Sabrina fails viewers who have themselves survived CSA, specifically men and boys. Nicholas in Chapter Twenty-One: The Hellbound Heart. The misrepresentations of male trauma don't end with Billy. The show also features a cis male character named Nicholas, who is abandoned to suffer alone after being tortured, leading to a horribly-handled allegory for male rape. The parallel to being sexually assaulted isn't subtle, with Nicholas describing how he took his abuser inside him, was stripped naked, was "tortured on the inside" and "humiliated and debased on the outside". He abuses alcohol, drugs, and unsafe sex in the wake of his experiences, viewing his own body as "dirty" and "polluted". He is sexually harassed by women who mock his trauma and suggest that he wanted to be abused, claiming that he had "the hots" for the man who abused him, saying he was made into his abuser's "bitch" and that he enjoyed the abuse. He experiences flashbacks, extreme distress, nightmares, anger, shame, and understandable grief. Unfortunately, an immature Sabrina is solely responsible for fixing him and, shocker, that doesn't end well. Nicholas miraculously gets over being abused, all on his own. The writers don't even bother to show him being supported by an authority figure or therapist/healer of some kind, because God forbid the trauma of a cis guy is taken seriously. Sabrina is established as a poor, downtrodden girlfriend, with Nicholas the selfish antagonist who dared to have a breakdown after being abused. He grovels until she deigns to date him again, and ultimately kills himself to be with her in the afterlife, which really cemented the show's descent into irresponsible and crap storytelling . Considering how trauma often manifests in boys/men , it makes complete sense that Nicholas would become angry in the wake of being abused. The way his anger is handled sends a very alienating message to male viewers who have suffered abuse; if you express how you're feeling and show your anger, you will be left on your own. You will be the bad guy. It's your fault. Handle your trauma alone and get over it, or suffer in a way that is palatable to your partner, AKA the only person who will help you. Don't bother seeking out a safe teacher, doctor, therapist, or community healer. A magical, super fast detoxification ritual to fix alcohol addiction. If you have experienced victim-blaming or been distressed by the erasure/mockery of male survivors, Nicholas and Billy's storylines may distress you. If you have battled addiction, you may experience similar distress. Proceed with caution. Chilling Adventures of Sabrina is a somewhat fun show, but it's not without plentiful flaws. It touches up against serious subjects and doesn't handle them well. The writers were too busy loading Sabrina's dialogue with ham-fisted feminist power slogans to realise that abused men don't just magically heal on their own, and humiliation/abandonment isn't the best way to help a traumatised survivor of any gender. I know that some people, reading this review, will roll their eyes and say, "it's just a dumb show, don't take it so seriously". My answer to that would be, if the show wasn't going to take the abuse of boys/men seriously, such themes shouldn't have been depicted at all. A series having juvenile and supernatural themes doesn't mean it's harmless, and the abuse of cis boys/men is so rarely handled well in film and television, as explored in Part 1 and Part 2 of Sexual Assault of Men Played for Laughs . Modern media needs to do better than dismissing or laughing at male trauma. Cis boys and men need to know that they're supported, and that their trauma matters. Young men take in messaging from media, just like young women, and the media needs to do better by them. Anyway, back to Theo... Theo excitedly seeking romantic advice from a friend. After coming out and triumphing over the people who abused/harassed him, Theo is afforded a romance that, while cheesy, is a breath of fresh air for those of us who never got to have such experiences in our youth. Theo's eventual boyfriend, Robin, is a humanoid Hobgoblin with supernatural abilities. He was initially tasked with sacrificing Theo to a Pagan God, but falls in love with him instead. Theo and Robin. Their scenes are a checklist of stereotypical teenage tropes, including cute dates and Theo choosing to lose his virginity with Robin. They're an adorable pair, as long as you're fond of cliché-heavy writing... but that caveat applies to the entire show. The massive age gap between them is never really dealt with. Robin refers to Theo as "the Putnam child," which I personally found incredibly creepy. Provided you're comfortable with the fact that trans maleness is treated completely differently to cis maleness, with cis guys typically not attaining justice after being abused (unlike Theo), Chilling Adventures of Sabrina is a relatively fun watch. Just don't expect too much. If there hadn't been a trans boy among the central characters, I wouldn't have continued watching it. The last season is particularly shit, and the final episodes ruined my favourite relationship in the show (a wonderful bisexual/lesbian pair). In terms of general warnings, prepare for the following: Gore, blood, and human dissections. Murder, including graphic deaths, the killing of an infant boy by his own mother, and the serial killing of multiple pre-pubescent children. Psychological horror. Torture of adults, teenagers, and children. Cannibalism, ranging from the cooking/consumption of humans to the eating of a newly-killed, fresh human body. Violence against people of colour, including a widely criticised lynching scene. Incestuous themes, specifically the planned marriage of a father and daughter, and the planned marriage of a brother and sister with the goal of producing incestuous heirs. Sexualisation of underage characters, including a fifteen year-old child (Sabrina at the start of the show). Multiple suicides. Underage drinking and drug use. A heterosexual relationship which closely resembles an abusive marriage. There are also Satanic themes, which doesn't bother me in the slightest, except for the fact that the show isn't at all sure how it's defining Satanism, Christianity, the occult, or Paganism... or, more crucially, good versus evil. From the perspective of an atheist, it's lazy writing. From the perspective of some worshippers, it's offensive . I can't personally speak to that but, if you are spiritual or religious, consider yourself warned. Entry last updated: 8 Feb 2026

Multiple trans people, including trans men and transmasculine people, are interviewed with their partners. The pairs discuss sex, romance, and love. Falling in Love with My Trans Partner Interview 2020 United States of America Multiple trans people, including trans men and transmasculine people, are interviewed with their partners. The pairs discuss sex, romance, and love. Watch. Available Summary: At every part of the journey, these couples can’t help falling in love with each other all over again! -YouTube. Jack's Summary: This collection of interviews is utterly gorgeous. Trans people and their partners are interviewed about love, their relationships, sex, and how things have changed since their transitions began. I particularly adore a conversation between two trans partners, where one says, "Physically, you becoming more masculine... You're super shredded now, you have a deep voice, and yeah, that's what I like. But also, just seeing you become more... yourself." It's such a sweet, rare dynamic to see, and I love seeing the pair laugh together. WARNING: An interviewee describes unsafe chest binding in this video. Double binding, or any form of intense pressure on your ribcage, is not safe and should not be attempted. Further, it is an impractical way to bind your chest, as you are likely to end up in so much pain that binding is impossible until your body heals, leaving you worse off in the long run. As lovely as this video is, viewers should have been provided with a disclaimer emphasising the seriousness of unsafe binding and discouraging them from attempting it as well. Learn more about chest binding here. Entry last updated: 8 Feb 2026

Marvin, a trans man, moves from the Czech Republic to Sweden with his family, and begins his transition. A Happy Man Documentary 2023 Sweden, Česká Republika (Czech Republic) Marvin, a trans man, moves from the Czech Republic to Sweden with his family, and begins his transition. Trailer. Available Summary: Marvin is a trans man living in Sweden, in a long-term marriage with his partner Ivan and their two children. His unexpected separation from his homeland for several months, as well as the slowing down of the entire process of physical and legal sex change during the COVID19 pandemic, intensifies the coexistence between partners and offspring, relationships with relatives and closest co-workers. The period of muted timelessness offers the film's protagonists a space to provide mutual support, acceptance of Marvin's gender identity, and a redefinition of roles within the family. Writing LGBTQ+ novels in which Marvin has created a male alter ego has played an essential role in his discovery and experience of his trans authenticity. -Czech Film Center. Note from Jack: This documentary is completely unrelated to Un Homme Heureux , a fictional film also released as A Happy Man , which also focusses on an FTM transition. They were released in the same year and titled the same thing, apparently by coincidence. Entry last updated: 8 Feb 2026

Frankie, a Kiwi trans man, is filmed throughout a pregnancy journey which includes miscarrying, trying again, and eventually giving birth to a healthy baby. Trans and Pregnant Documentary 2024 Aotearoa (New Zealand) Frankie, a Kiwi trans man, is filmed throughout a pregnancy journey which includes miscarrying, trying again, and eventually giving birth to a healthy baby. Watch on SBS. Watch on TVNZ+. Article. Available Summary: This documentary follows the journey of two Kiwi men as they look to start a family, with Frankie, a trans man, wanting to carry and birth his own child. -SBS. Entry last updated: 11 Mar 2026

Rae Tutera, a non-binary tailor, is filmed alongside their business partner as they make clothes for trans people and other gender-diverse individuals. Multiple trans men and non-binary people are interviewed. Suited Documentary 2016 United States of America Rae Tutera, a non-binary tailor, is filmed alongside their business partner as they make clothes for trans people and other gender-diverse individuals. Multiple trans men and non-binary people are interviewed. Trailer. Available Summaries: Going deeper than fine fabrics and silk linings, Suited takes a modern, evolved look at gender through the conduit of clothing and elucidates the private and emotional experience surrounding it. With heart and optimism, the film documents a cultural shift that is creating a new demand—and response—for each person’s right to go out into the world with confidence. -Letterboxd. A behind-the-scenes look at the Brooklyn tailoring company Bindle and Keep. -IMDb. Jack's Summary: This is a documentary about a tailoring shop that specifically serves trans and gender-diverse clientele, with the scope of the film going far beyond just clothing. Filmmakers take the time to interview a range of trans people who have different identities and are at varying stages of their transitions. Family life, transitioning, employment difficulties, gender dysphoria, and a huge range of subjects are discussed. The majority of the interviewees are trans men and gender-diverse people assigned female at birth. Mental health, suicidal ideation, and bigotry are discussed, but nothing graphic or too confronting; just people sharing their life stories and struggles. One interviewee reclaims a homophobic slur, so if that will be upsetting for you, be prepared for that. A trans man is filmed as he goes in for his hysterectomy, and is interviewed while sitting in his hospital bed. He uses potentially dysphoria-inducing anatomical terms for his organs and genitalia. Overall, I'd say this is a positive and diverse film, and I liked that it concluded with praise and adoration of masculinity. Entry last updated: 24 Feb 2026

Multiple transsexual men describe their experiences with bottom surgery (phalloplasty and metoidioplasty), with several partners sharing their experiences as well. Hung Jury Book (Non-Fiction) 2012 United States of America Multiple transsexual men describe their experiences with bottom surgery (phalloplasty and metoidioplasty), with several partners sharing their experiences as well. Goodreads Page. Available Summary: The first book of personal testimonies focusing exclusively on genital surgery of female-to-male trans bodies. Stories document the intricacies, ups and downs of genital surgery and the many transformative ways it changes their lives. These journeys of courage, risk, trial, and triumph speak to readers of all walks of life. Testimonies are a valuable companion for those considering genital surgery, and will educate others who want to learn more about female-to-male gender transitions. Clinicians, therapists, and partners of trans men will also gain insight into a dimension of transitioning that is rarely discussed, and learn how to support them in their quest. -Book blurb. Note from Jack: I really appreciate the foreword from trans man Shannon Minter, where he talks about previously having unfairly negative views about bottom surgeries, and how much he has learned in the years since. His openness, humility, and compassion is so lovely. The information in this book is, naturally, based on medical information from over a decade ago, but these men's experiences are still worth engaging with, if you are considering a similar journey or seeking to understand someone else's journey. For a more modern view of bottom surgery (specifically phalloplasty), consider the book Top to Bottom , and the author's appearance in an episode of Naked Education . Images: Trystan T. Cotten and Shannon Minter . Entry last updated: 25 Mar 2026

Nao Tsurumoto, a teenage trans boy played by Japanese actress Aya Ueto, explores his gender identity and faces verbal, physical, and sexual abuse as a result. 3年B組金八先生 (Kinpachi-sensei) (S6) Show 2001 Japan Nao Tsurumoto, a teenage trans boy played by Japanese actress Aya Ueto, explores his gender identity and faces verbal, physical, and sexual abuse as a result. Video Summaries Here and Here . Available Summary: Kinpachi-sensei ( 3年B組金八先生 , San-nen B-gumi Kinpachi-sensei ) is a Japanese television drama that aired from 1979 to 2011. Kinpachi-sensei tells the story of a third-year junior high school class in Japan; its teacher is Kinpachi Sakamoto, played by Tetsuya Takeda. The series has a lot of social commentary on issues such as homosexuality, gender dysphoria, and psychological pregnancy, as well as bullying (of both students and teachers), teenage pregnancy, teenage suicide, hikikomori, and the extreme pressure to do well in school. -Wikipedia. Nao explaining his clothing preferences. Jack's Summary: Season 6 of this series introduces trans boy Nao Tsurumoto, played by actress Aya Ueto. The above reviews thoroughly examine Nao Tsurumoto's characterisation and impact. I've watched a few episodes of this season, and it's certainly a product of its time, while also being a significant example of trans male representation in the media. I loved scenes where Nao meets with a trans woman, seeking solidarity and guidance. Nao binds his chest, wears a packer in his pants, and wears masculine clothing to affirm himself. He is supported by his mother, but not by his father. Nao's classmate telling teachers about his plans. WARNING: Unsafe chest binding and confronting themes. You should prepare for potentially distressing themes, including physical, verbal, and sexual abuse, not limited to the trans character. Nao Tsurumoto is sexually assaulted by his father, harassed by his classmates, and laughed at for his gender identity. Nao also self harms in one scene; while it is unrealistic and dramatised, it is also quite graphic and confronting. The first review linked above has timestamps in the description, allowing viewers to skip the footage. Additionally, Nao binds with bandages, and his chest appears to have self harm scars. The show, to my memory, does not address the dangers of binding this way . One of the most disturbing episodes is episode 22, where a male classmate decides that he will prove that Nao is female by raping and impregnating him, telling several girls (ostensibly his friends) that he will rape them as well if they expose his intentions. While two adults discourage him, the planned rape is not taken as seriously as it should be. The would-be rapist, despite being unashamedly committed to the assault beforehand, is convinced to spare Nao by a mere speech from his teacher. This episode is consistent with the whole series in terms of unrealistic conflict resolution and heavy topics. Despite all of the ugliness, Nao does get a happy ending, and is eventually accepted as a boy by his peers and teachers. Entry last updated: 8 Feb 2026

Shayan, an Iranian trans man, presents and lives as a male as much as possible, but is affected by the laws and expectations placed upon women. خستگی (Khastegi) Film 2008 Iran Shayan, an Iranian trans man, presents and lives as a male as much as possible, but is affected by the laws and expectations placed upon women. Watch. Available Summary: Khastegi tells the story of seven Iranian transsexuals living in Tehran. -Wikipedia. Jack's Summary: This indie movie predominantly features trans women, but there is also one trans man, named Shayan. The film's actors are trans themselves, and apparently the director Bahman Motamedian struggled to find trans men who were willing to act in the movie. Discussing the film , Motamedian explained, "Right up to the day of shooting, I hadn't found a suitable character to play that role... As it is a very masculine and male-oriented society, revealing they are not a ‘real’ male has real problems". Though he considered cutting the role completely, he did find a suitable actor at the last second. I think that Shayan is played by Iranian actor Bahare Ghavibal, but information is limited, potentially to protect actors' identities. Khastegi was not shown in Iran and was made without official Iranian permission. Shayan listening to his mother's yelling. Shayan is introduced sitting on a park bench with his girlfriend, listening as she speaks on the phone. Once the call ends, he demands to know who she was speaking to, establishing his nature as a jealous and insecure boyfriend. We find out that Shayan is a trans man when he sneaks away to put on a hijab and matching black clothing over his male attire. When he gets home, his mother yells at him, demanding to know where he has been and admonishing him for acting like a boy, saying that a "decent girl" would not stay out so late. Shayan at work. Shayan is then shown working as a receptionist, presenting as a woman. He is given a bunch of red flowers by his coworker for Women's Day, which clearly frustrates him. When he later tries to buy a motorcycle, the seller is reluctant to sell to him on the basis that a woman is unlikely to get a license for a motorbike. Annoyed, Shayan snaps, "It makes no difference if she can or cannot! Buying a bike isn't a crime, is it?" It is apparent that the majority of Shayan's life is governed by strict gender roles which prevent him from being his true self, making him feel trapped and angry, giving context to the machismo he emphasises when he is able to present as a man. In Shayan's next scene, he is lurking on the street, watching as his sister walks with a man. When the pair come near him, he jumps out and grabs the man, insisting that he stay away from his sister. By way of explanation, when his sister is justifiably pissed off by his behaviour, he says, "I don't like to see you with these pricks." His sister reasonably insists that her dating choices are none of his business, criticising his behaviour, but then proceeds to attack his very identity. "You're sick," she says, "All your boyish mannerisms are because you're sick. Do you know what others say about you? They say you like to be a boy because boys inherit twice as much as girls. But I know why. You like to be a boy because you're so ugly. You like to be a boy because nobody would fall in love with you." Shayan reacts impulsively, slapping her cheek. She walks away, and he watches her go with an upset expression. Shayan being criticised by his boss. At work again, Shayan asks a man if he can borrow his motorcycle. The man asks, "Now?" Amusingly, Shayan replies, "Of course! When did you think? Next year?" The man agrees, and Shayan, still wearing his hijab and female attire, rides the bike down the street. Shayan's boss sees him and confronts him at work. "I won't ride a bike anymore," Shayan concedes, but his boss clarifies that the real issue is Shayan acting and presenting like a man. "You don't do make-up and you don't look pretty," the boss says, "We need ladies to work here. Do you understand?" Furious, Shayan curses his boss and quits on the spot. Shayan's prayers being interrupted. At home, Shayan performs the salah. A female relative interrupts him, coldly saying, "All the prayers that you said without a veil are worthless." He sits on the floor, absorbing her words, clearly distressed. The film then cuts to a one-on-one interview with Shayan, where he is directly addressing the viewer. "I always have to prove myself to others," he says, "I get so upset when they ask me why I like to be a man. Then I want to shout that I want to be myself. I want to live in comfort. I like to be myself, just myself." Shayan's girlfriend leaving him. Shayan is shown with his girlfriend again. She asks whether he wants to undergo transition surgeries, but he says that he doesn't, citing physical pain and the financial cost as reasons. He says that he would rather buy a car and work as a driver, prompting his girlfriend to complain that he is not considering her feelings enough. She then asks him for advice, saying that her sister in Holland and her brother in Afghanistan are both willing to take her in, but she is "stuck" in Iran because of him. "You have to tell me what to do," she says. "It's obvious what you should do," he responds, "Go wherever you like and do whatever you like!" Unsatisfied with this answer, she breaks up with him. Shayan arguing with his FTM friend. Shayan asks a trans male friend (who has finished transitioning) for help, saying that he needs to buy a car to make a living, but can't currently afford it. His friend is reluctant to even speak with Shayan, because his wife doesn't want him around other women, and she views Shayan as a woman since he has not medically transitioned. Though the pair argue and Shayan starts to walk away, it is implied that his friend gives him money regardless. In Shayan's next scene, he is working as a taxi driver, presenting male and not wearing a veil. His aggressive manner and frustration is unchanged, resulting in a tussle with another taxi driver. Shayan confronting his would-be husband. Shayan sleeps in his taxi cab rather than his family home, and is woken one morning by a phone call from his mother, who has arranged a marriage for him. He refuses the marriage, telling his mother not to arrange any other pairings in the future. After hanging up on her, he finds the man he has been paired with, chasing him down and threatening him with violence if he insists on the marriage. After revealing that he is the man's proposed wife, Shayan says, "Next time you're gonna marry someone, you better see her first! Get outta here!" The film cuts to another interview scene. Shayan lists the excuses he has to provide when people ask about his gender non-conformity, because he cannot tell people that he is a trans man. To explain his short hair, he says that he feels too hot with long hair. To explain why he doesn't wear make-up, he says that he has sensitive skin. To explain why he does male activities, he says that he is a feminist. To explain why he plays physically-intensive sports, he says that they are good for his health. Every aspect of his life and gender presentation are constantly being scrutinised, and he feels trapped. Shayan in his taxi. The arranged marriage was, apparently, the final straw for Shayan. He packs a suitcase of clothes and leaves home. His mother yells at him, asking, "What should we do if the police arrest you? Why don't you wear a veil outside?" Now homeless, Shayan works as a taxi driver and sleeps in his car permanently, having nowhere else to live. He is woken, one night, by an unnamed man who addresses him as "Mr. Shayan". When Shayan rolls down his window, the man asks if he is okay, and passes him a bowl of food. Shayan has almost nothing, but he has autonomy and can live as his true self, with this moment of kindness offering viewers a moment of hope. Shayan being stopped in traffic. Shayan appears twice more. In his penultimate scene, he addresses the viewer once more, talking about true love and explaining that he has been unable to find it thus far. His last scene shows him being stopped by an officer who demands his driving license, refusing to explain why or say what Shayan has done wrong. After finding out that Shayan is legally a woman, the officer asks why he is not wearing a veil. Shayan says that he will explain after the official hands his license back, but the official continues to aggressively question him, demanding to know why he is not wearing a veil. Frustrated, Shayan yells, "Okay, keep it then!" He drives away, fleeing in his car. It is an ominous ending for him, since he now faces arrest While this film avoids the more extreme experiences that trans men face regardless of the country that they live in (rape, conversion therapy, et cetera), it is still made abundantly clear that Shayan is immensely struggling. Given that, it is ironic when a trans woman monologues about trans men having it easy, claiming that FTMs do not face discrimination whereas trans women do. "If you're a girl and you like to be like a boy, everybody supports you because of your strong character. Then it's all praise and clapping," she complains. Oh, do I wish that were true! Overall, I really liked this film. It's really frustrating that I'd never heard of it until researching trans male media for this website. It's freely available online, it was made in the early-2000s, and it features a bunch of trans actors in trans roles. I can't help but think that, if this had been made in the U.S.A. and featured a large cast of American actors, it would be more widely appreciated... and even praised as groundbreaking. WARNING: There are confronting themes throughout this film. These include suicide, domestic violence, abduction, hate crimes, misogyny, homophobia, transphobia, harassment, deadnaming, and misgendering. Entry last updated: 4 Mar 2026

Two trans men, played by American trans actors Radcliffe Adler and Marten Katze, become involved in a love triangle in this indie short film. Bros Before Short Film 2022 United States of America Two trans men, played by American trans actors Radcliffe Adler and Marten Katze, become involved in a love triangle in this indie short film. Watch Here... If You are an Adult! Available Summary: Elijah and Billy are two trans bros who just happen to enjoy jerking off together -- in a straight way! But when Billy starts dating a woman, Elijah must come to terms with his feelings for Billy and his own burgeoning homosexuality. Raunchy, campy, and heartfelt, "Bros Before" is a second puberty coming-of-age story saturated with sex, drugs, and hyperpop. -Gonella Productions, Vimeo. Jack's Summary: This is a silly, campy, gay, trans short film. Lots of slurs, drinking, smoking, explicit content, and drama. Trans-directed, starring amateur trans actors Radcliffe Adler and Marten Katze. Just a bit of fun! But probably don't watch it if you're sensitive to homophobic slurs. Entry last updated: 8 Feb 2026

A child named Robin, played by Canadian actress Matreya Fedor, chooses to be known as a boy while attending swimming lessons. Inspired by a short story of the same name, published by butch/non-binary activist Ivan E. Coyote. No Bikini Short Film 2007 United States of America, Canada A child named Robin, played by Canadian actress Matreya Fedor, chooses to be known as a boy while attending swimming lessons. Inspired by a short story of the same name, published by butch/non-binary activist Ivan E. Coyote. Watch. Available Summary: Robin takes us back to that glorious time when she was seven years old and shows us how it defined her for the rest of her life. -IMDb. Jack's Summary: This sweet, simple short film is based on the true experiences of Ivan E. Coyote, a renowned non-binary/butch Canadian activist. Robin, the protagonist of No Bikini , is a pre-pubescent kid who feels irritated and restricted by female bathing costumes, and so chooses to go shirtless like the boys do. This feels so natural, easy, and right that Robin hopes the swimming lessons will go on forever but, at the end of the film, Robin's mother is astounded and annoyed when she finds out that Robin has been "parading around half-naked for six weeks". What I like about this film is that it could easily be about a trans boy, a non-binary youth, a tomboy, or simply a girl who sees no difference between herself and other kids. No Bikini is set in a simpler, easier period of childhood where gender norms don't really exist, and splashing around in a pool doesn't require rules. There are no physical differences between Robin and the boys, when Robin is walking around shirtless. So, why not wear the most comfortable swimwear? Robin smiles when the swimming lesson report card is read out: "Your son has successfully passed his beginner's badge and is ready for the next level. He shows great promise. We suggest that you enrol him in our competitive swim program." When just watching the short film, without the further context of Coyote's experiences, the viewer is left to wonder about Robin's motivations. Is Robin smiling because she is simply a girl being free and uninhibited, uncaring about gender and simply delighted to have performed above her peers? Or is Robin smiling because they, like Ivan Coyote, are motivated by a non-binary gender experience? Or is Robin possibly a trans boy? Whichever way, a lovely short film that many of us can relate to. You can read Ivan Coyote's original short story, describing their childhood experience, here . Entry last updated: 8 Feb 2026

Robin Jones, a trans male jazz musician played by American trans actor Scott Turner Schofield, supports the female protagonist as she tries to become a conductor. De Dirigent (The Conductor) Film 2018 België (Belgium), Netherlands, United States of America Robin Jones, a trans male jazz musician played by American trans actor Scott Turner Schofield, supports the female protagonist as she tries to become a conductor. Trailer. Available Summary: Antonia Brico dreams of becoming a conductor, but she isn't taken seriously because she is a woman. -IMDb. Jack's Summary: The Conductor begins in 1926, which is important context to keep in mind when discussing this film's depiction of a trans man, and the language he uses when discussing his identity. Robin Jones is introduced as a man, and is non-disclosing with few exceptions. He works as a bass player in a performing troupe that also includes Miss Denise, a "female impersonator". He offers Antonia work in the troupe, as a pianist, after encountering her job-seeking on the street, and later opens his home to her when she needs somewhere to stay. Robin supports her several times as the movie progresses, including when she is blackmailed by a piano teacher who attempted to sexually assault her, and overall allies himself with her cause; proving that women can be conductors and musicians, just like men. Robin wearing a chest-flattening garment. Miss Denise tells Antonia that Robin wears a corset beneath his clothes due to a back injury; in truth, Robin wears a corset (or perhaps a girdle) in order to flatten his chest and pass as a man. While hugging Robin, Antonia touches his chest and asks, "Does it hurt?" Robin replies, "Every day." Robin in feminine clothing. When Antonia starts an all-women symphony, Robin attends wearing a dress and a wig, and is unbound beneath his clothes. Antonia assumes that Robin is dressing up like Miss Denise does, and asks whether this is Robin's way of supporting her. Robin, gesturing to his chest, says, "I'm not dressed as a woman... and these are real," in an unsteady voice. "You never were in an accident," Antonia realises aloud, and Robin replies, "Unless you count being born a girl." Antonia asks Robin whether he wanted to be a man, and Robin replies, "I wanted to be a musician," later adding, "I think I'd rather stay who I was," expressing a preference to continue in his male role. For the rest of the film, he continues to present masculinely and be known as Robin. Robin clearly does not have the language to explain his trans experience, but knows that he adores music and prefers to live as a man, even as Antonia (and other female musicians) prove that women can be musicians and conductors as well, and he actively supports them in this mission. If "Robin" were just the crossdressing persona of a woman determined to succeed, she could cast off that persona and resume being Roberta, but he does not... because he is not pretending to be Robin, he is Robin. I found this to be an interesting and compelling depiction of trans maleness in a character who had neither the language nor the community to explain being a trans man, and I'm very glad this character was played by a trans actor. In this interview , Scott Turner Schofield explained how dysphoria-inducing it was to wear a prosthetic chest for hours during filming, describing it as "painful" but "worth it." According to the article, he had difficulty getting through the scene in one take. I can't imagine going through that myself, so he's certainly got my respect. Beyond Robin, this film seemed quite boring to me, but that likely just reflects my lack of interest in historical romance/drama as a genre. In general, this film includes period-typical misogyny, anti-LGBT+ attitudes, and sexual harassment from Antonia's piano teacher. I did skip around a bit, due to the afore-mentioned boredom, so I may have missed scenes/themes which might be either interesting or confronting for viewers. A love interest aggressively grabbing Antonia's arm after she has specifically said, "stop," and forcing a kiss on her, is framed as a romantic gesture, and is followed by a montage of romantic moments involving the pair. This uncritical normalisation of assault is ploddingly similar to a long history of scenes where unconsenting, unwilling people happily submit to intimacy once they're forced into it, furthering the idea that those who resist intimacy just need to be pushed harder. Given that this is a film which centrally explores feminism and female empowerment, I found this moment particularly disappointing. Narratively, the fact that the fiercely progressive Antonia adores this pushy misogynist over the fiercely progressive Robin... well, it makes no sense. The overarching romantic plot feels forced. That being said, I understand that Antonia was based on a real conductor, Antonia Louisa Brico, so perhaps the filmmakers didn't wish to stretch the truth somehow by having her end up in a relationship with a trans man (although I have no idea how factual the rest of the movie is). Even aside from how nice it would've been to see Robin as the main love interest, from a representation standpoint, I think the film would've made more sense if it had been taken in that direction. Entry last updated: 24 Feb 2026