Ari, a non-binary person played by non-binary actor Libby Mai, faces confusion and judgement from their family due to their drag king performances and presentation. Make Me A King Short Film 2021 England Ari, a non-binary person played by non-binary actor Libby Mai, faces confusion and judgement from their family due to their drag king performances and presentation. Trailer. Available Summary: Ari performs as a Jewish Drag King, much to the confusion of their family. Idolising real-life hero, Pepi Littman, who carved out a space for Drag Kings over 100 years ago, they use this history to open up a space for acceptance in the present. -Official website. Ari putting on a binder. WARNING: Unsafe binding. The trailer of Make Me A King shows a chest binder which does not have shoulder straps. This style of binding can be quite unsafe, due to consistent pressure all around the ribcage, just like bandages. I would advise against using similar binders. Learn more about chest binding here. Entry last updated: 8 Feb 2026

Michael Hallowell, a trans male student played by American non-binary actor Ellie Desautels, transitions with the support of friends at his high school drama department. Rise (NBC) Show 2018 United States of America Michael Hallowell, a trans male student played by American non-binary actor Ellie Desautels, transitions with the support of friends at his high school drama department. Trailer. Available Summary: A working class high school drama department and the students come alive under a passionate teacher and family man whose dedication to the program galvanizes the entire town. -IMDb. Entry last updated: 15 Feb 2026

Blake, a trans man played by British trans actor Pete MacHale, is in a relationship with a cis man. In this slice-of-life short film, the pair have sex (with Blake topping his partner), play videogames, and explore Blake's gender presentation. Dungarees Short Film 2020 England Blake, a trans man played by British trans actor Pete MacHale, is in a relationship with a cis man. In this slice-of-life short film, the pair have sex (with Blake topping his partner), play videogames, and explore Blake's gender presentation. Watch. Available Summary: What does it mean to be a man? Why can't I wear a dress? Let's have sex and worry about it later. Transgender Blake and cisgender Cane hang out, play video games and grapple with their insecurities. This is their love story. - Official website. Jack's Summary: Blake, a gay trans man played by British trans actor Pete MacHale, has fun with his boyfriend, and they discuss his gender presentation. This short film has a happy ending, and it’s very sweet and light-hearted. I only wish it was the length of a feature film. Blake has the goal of embracing flamboyant clothing and painted nails, now that his gender dysphoria has been alleviated by top surgery and testosterone. It is apparent in the film that he is versatile; sex is discussed, and viewers see his penile prosthetic. Entry last updated: 8 Feb 2026

Eddie, a trans man played by Iranian actress Shayesteh Irani, is determined to flee Iran to escape a violent father and an arranged marriage with his cousin. آینههای روبرو (Facing Mirrors) Film 2011 Iran Eddie, a trans man played by Iranian actress Shayesteh Irani, is determined to flee Iran to escape a violent father and an arranged marriage with his cousin. Watch. Jack's Summary: I really loved this film. I wish I'd seen it sooner, and I wish there had been more awareness of it in my Western trans and gender-diverse communities. Rana visiting Sadegh in prison. The film opens with Rana, a woman with traditional values, having a phone call with her husband, Sadegh, in the visiting area of a prison. She is reluctant to admit that she is working as a taxi driver to make extra money while he is incarcerated, to support herself and their son, and to slowly pay off the debt her husband was left with when his business partner abandoned him. Akram, her friend, frets over Rana's decision to drive a taxi, asking what Rana will do if somebody sees her working as a driver. Eddie's first appearance. We are introduced to Eddie as he gets into a car with Marjan, his supportive female cousin, telling her that he was unable to leave Iran because his passport was torn up by his father. Once in the car, he takes off his veil and puts on a beanie. As he drives, they discuss his upcoming wedding to their shared male cousin, and his plans to escape it. He has ordered a new passport, to be delivered to her address, and he will need to hide until she can get it to him. We find out, later in the film, that Eddie previously lived with his aunt in Germany. While there, he saw a psychiatrist and admitted that he felt like a man, and saw other practitioners who agreed that he was a transsexual. He even began his transition, starting testosterone and booking a surgery. However, after being told that his father was ill, he traveled back to Iran to support his family. As it turned out, this was just a lie to get him back in the country, after which his passport was torn up, he was betrothed to his cousin, and was prevented from traveling freely. ( Similar tactics are used by abusive families in real life. ) Eddie's father is violent and does not accept Eddie's identity. Emad, Eddie's brother, is more open-minded, and even calls his trans brother by his chosen name instead of Adineh, his birth name. Eddie and Marjan being stopped by police. As Eddie drives with Marjan, a car tailgates him and speeds past him on the road. Annoyed, Eddie speeds after the car, and is stopped by police as a result. He hands the policeman Emad's driver's license, after which he is taken to the police station for using someone else's ID. Eddie's father gets a call from the station, and goes to pick Eddie up. Eddie caught by his father again. When we next see Eddie, he is sitting in the backseat of Emad's car with a bleeding lip, his father sitting in the front passenger seat. When Eddie tries to speak up, his father yells, "Shut up before I hit you again!" Emad, disturbed, stops the car, but obeys his father when he's told to resume driving. It is clear that Emad wishes to defy their father, and feels that the abuse is wrong, but cannot bring himself to go through with disobeying. He, too, is afraid of his father. Eddie's father insists that he will not be allowed to leave home until his wedding day, instructing Emad to watch him to prevent him escaping. The next day, Emad attempts to speak out against the home imprisonment and the wedding, but he is not listened to. Eddie sneaks out despite his father locking down the house to keep him trapped. Eddie being harassed. Eddie attempts to hitchhike, but two men in a car read him as a female, and begin to harass him. This infuriates him, so he headbutts the man in the passenger seat, starting a fight. As the men run after Eddie, determined to assault him, Rana drives past. Seeing Eddie fleeing the two men, she stops to pick him up, driving off before the men can follow. Eddie is initially unable to present masculinely around Rana. He is grateful for her help, saying that she can drop him off wherever, and he will catch a taxi. Upon finding out that she herself is a taxi driver, he is surprised, and asks whether the job makes her feel unsafe. She denies ever feeling unsafe, saying that she only ever picks up female passengers. This makes him uncomfortable, as he hates being perceived as a woman. He takes off his headscarf and puts on a cap, to Rana's shock. She stops the car and insists that she will not continue driving him until he puts his headscarf back on. He has no choice but to do as she asks, because he needs safe transportation out of Tehran. Rana questioning Eddie. At a stop along the way, Rana notices that Eddie uses the male toilets instead of the female toilets, and is worried when he hides at the sight of police. As she waits for him in her cab, her anxiety grows about who her passenger is, especially when she checks his bag and finds a large sum of money (he comes from a wealthy family) and his late mother's jewellery. Eddie coming out to Rana. Once he is back in the car, she quizzes him about who he is, and why he has so much money; whether he is a spy, a criminal, a drug addict, etc. By way of explanation, Eddie says that he needs to leave Iran because, if he doesn't, he will be married to his cousin. Rana does not see this as a problem. Eddie elaborates, saying that the issue is not with his cousin, but with him personally. "I can't take a husband. I'm not a girl," he explains, leading Rana to ask, "What the hell, you're not a virgin?" He replies, "No, I don't mean that," and after a long pause, adds, "Do you know what trans means? Trans means people who want to change their sex. I'm trans." Rana, a conservative woman who has never met a trans person before, doesn't know what this means and is afraid of Eddie. Panicking, she tells him to get out of her car. When he tries to reassure her that he won't hurt her, she slaps him on the face. He gets out, as instructed. Rana pulls out onto the road without looking, a truck colliding with the side of her car as a result. Rana in hospital. Rana wakes up in hospital, finding out that Eddie paid the hospital bill and is paying for Rana's car to be repaired. After reading a note which Eddie left in her hospital bedside table, Rana travels to the repair shop where her car is being fixed. She is surprised to find Eddie waiting for her behind the shop. After Eddie asks whether she is alright, she questions why he stuck around and helped her; "Weren't you scared of getting caught?" Eddie laughs and says, "What would you have done, in my shoes?" Rana thanks him for repairing her car and paying her medical expenses, handing back the taxi fare money he'd paid her, since she hasn't been able to complete the trip. He refuses to take the money back, and offers to drive her home since she's in no condition to dive herself. Rana says, "Forgive me... I slapped you because I was shocked. Because I didn't know what to do. I thought a man had deceived me and gotten into my car... I have never met someone like you before... I'm so ashamed of myself. Are you still willing to drive me to Tehran?" Eddie confiding in Rana. During the long, peaceful drive back to Rana's home, the pair talk about their lives. Eddie tells Rana about never feeling like a girl growing up, the feminine expectations placed upon him when he began puberty, and his sense of being a man growing stronger over time. This is also when he reveals having started testosterone in the past, being acknowledged as an FTM transsexual by practitioners, and being tricked into leaving Germany. Rana tells Eddie about her love of driving, her desire for independence, and memories of driving with her husband. Eddie shaving. When the pair arrive at Rana's home, she invites Eddie to stay the night, since it is late and he has nowhere else to go. However, she forgets to tell her friend Akram, who has been babysitting her son, that Eddie will be there in the morning. As a result, when Akram sees him shaving his face in the bathroom, she assumes that he is a cis man who has broken in. She begins to physically attack him, and tells Rana to call the police. Rana intervenes, but not before Eddie has a bloody nose from being hit. After facing so much physical abuse throughout his life, this affects him deeply, and he sobs alone in the bathroom. Later, when Akram learns that Eddie helped Rana, and is told that he is a woman, she hugs him and apologises for hitting him. Being treated with affection and gentleness makes Eddie cry with relief, even if he is not being affirmed as a man. Eddie confronting Rana's assumptions. After Akram leaves, Eddie asks Rana if she told Akram the truth about him being a trans man. Rana says she didn't, and couldn't. She says that, while she will help Eddie, she does not understand him, and she believes he is fighting divine will by not living as a woman... thereby committing a sin. He responds, "You don't understand because you have never been in my shoes. You think that I went to sleep one night, and when I woke up the next day, I decided to be a man? Yes? You're being unfair. I had no choice of being in limbo, just like you had no choice in being a woman. The only difference is that you are not confused... you're not stigmatised. But I am." As he walks away, fighting back tears, Rana slumps forward, upset by his distress. She cares about him, but his identity contradicts her traditional values, and she doesn't know how to find a balance. I found Rana to be a wonderfully-written and well-acted character, and I appreciated how sensitively this cultural push-and-pull is depicted. Nobody is the bad guy here, aside from Eddie's abusive father. Everybody else is just trying to be authentic to themselves, to their beliefs and their identities, and is struggling. In another seemingly contradictory act, Rana suggests that Eddie stay at her home until he gets ahold of his new passport. Eddie is surprised by this offer, especially given the conservative values Rana has expressed, and he gratefully accepts. Over the following days, Rana watches Eddie bonding with Ali, her young son, the way a male role model would. She watches from her window as Eddie kicks a ball with Ali in the yard, overjoyed to see her child so happy, especially given how much he misses his incarcerated father. Eddie opening the door to a debt collector. This idyllic environment is interrupted by a sudden reminder of how controversial Eddie's existence is. When a debt collector comes knocking, seeking a payment on behalf of Rana's husband, Eddie answers the door without his veil on, presenting as a man. If he is found out as a "woman", he and Rana risk being arrested. Rana lies, claiming that Eddie is her brother; a man related to her, and therefore appropriate to be alone with. Eddie makes a debt payment, and after the collector leaves, acknowledges the risk they were just in. Following this, Ali wanders out into the yard dressed in his mother's clothing. Like many children do, he is simply playing dress-up. Rana, already panicking after the debt collector's sudden appearance, yells at him to get inside before anybody sees him, chastising him for dressing in female clothing. Eddie watches without comment, sad to witness Rana's kneejerk rejection of gender non-conformity. That night, Eddie approaches Rana, asking why she was so "cruel" to her son. "Don't worry," he says, "He won't turn into someone like me." Rana does not respond to this, still torn between her conservative values and a growing acceptance of gender diversity. She does not know what to do, or how to feel. Eddie sharing his struggles with Rana. The pair, in a gorgeous conversation, proceed to talk about love and happiness. Rana feels comfortable with Eddie, and Eddie feels comfortable with her. Rana says she will wait for her husband forever, until he is someday released from prison, even though his debt is 18 million tomans (approximately 17 thousand USD in 2010), which may take decades to earn. She is devoted to her husband. Eddie asks her, "Would you believe me if I say that I wish I were in your shoes?" She laughs, but he adds, "I'm serious. I wish I could be in love with someone, and I could talk about it, with no fear of being hated, damned, or causing embarrassment. I wish I could stay here in my own country, and live with my love... even if there is prison between us. But now I can't even count on my father and brother's love. If you are not forced to leave, you'll never appreciate your homeland." Crying, Rana asks, "Can't you have the operation here?" He confirms that, yes, he could, but his family will not accept him afterwards. He must leave Iran, in order to be free. The next day, even when Akram suggests that Eddie may cause problems with his masculine presentation, Rana insists that she owes Eddie and trusts him. She still feels conflicted but, as their nighttime conversation showed, she is far more open to transsexualism than she previously claimed. Eddie gets a call to pick up his passport at the post office. After he picks it up, and is trying to catch a taxi outside, he is accosted by his father, who backhands him across the face. Emad, distressed, holds their father back to stop him beating Eddie further. Marjan calls Rana, revealing that her father told Eddie's father about the passport awaiting collection at the post office. Rana, at this point, could stand by her expressed conservative values and let Eddie be married off as a wife... but she doesn't. She asks Marjan for Eddie's home address instead. Rana confronting Eddie's father. Rana confronts Eddie's father in his home, much to his shock, and to the shock of Emad. "She doesn't have a mother to feel for her. You, as her father, should support her, not try to get rid of her or force her into a worse situation," Rana insists, "I have only known your daughter for a few days, but long enough to believe that she is not crazy or a pervert. She doesn't want to annoy or embarrass you. She just can't be like other people. It's not a choice. Whether she's a girl or a boy, she's human... and a good person. I'm sure God loves her, and has mercy on her. Eddie, Adineh, whatever you like, is suffering. If you love her, stop hurting her. When everyone rejects her, don't do the same. Help her, if you love her." Voice shaking, she begs Eddie's father to show his child kindness, but he walks away. Rana confronting Eman. Throughout this whole conversation, Eman has been listening without comment. After his father leaves, he asks Rana with genuine confusion, "Why do you insist on helping her?" Rana explains that, at last, she has accepted that Eddie is her friend, and says she would support her child if that child turned out to be trans as well. Her parting question, directed at Eman, is, "If your father forces you to take a husband, what would you do?" She now understands that this is the position Eddie has been placed in; he is a man, and he is being forced to marry a man against his will. Eman tries to speak to their father, but cannot convince him to spare Eddie an unwanted marriage. Their father is disgusted by Eddie, saying that he wishes Eddie were disabled instead of trans. "You wish that she were dead, so you wouldn't be disgraced in front of others," Eman argues, heartbroken. Their father does not dispute this. Eddie before the scheduled wedding. The next day, as Eman drives an unspeaking, weeping Eddie to the wedding venue, he cries alongside his trans brother. He pulls over on the side of the road and takes Eddie's passport from his jacket pocket. "Your friend is waiting for you. Go," he insists, voice shaking, "She's a good friend. Appreciate her." Looking through the windscreen, Eddie sees Rana waiting beside her parked car. Sobbing, Eman says, "Take care of yourself. Wipe that shit off your face," he adds, referring to the makeup which was forced onto Eddie, making them both laugh. He watches Eddie run to freedom, still crying. Eddie restarting his medical transition. Eddie gets his happy ending. In his next scene, he is sitting in a medical clinic, and the nurse addresses him by his chosen name. He has resumed testosterone replacement therapy, and has surgery scheduled in three months. As he wanders past a pride parade, his voiceover reveals that he has sent a large sum of money to Rana, determined that she must accept it. Rana's ending is somewhat more ambiguous. With Eddie's money, her family's debt is paid off, and her husband is released from prison. He is upset with her, when the film ends. It is not clear why; perhaps he is angry that she worked as a taxi driver, or because she befriended a trans man, or because she accepted a large sum of money that trans man and offended Sadegh's honour. Rana has changed a lot during his incarceration, and the ending suggests that she may have changed too much for Sadegh's comfort. Eddie's stern expression, as we hear dialogue between Rana and Sadegh, suggests that he is aware Rana may face consequences for helping him, to say nothing of Eman. I suspect that many trans and gender-diverse people may be reluctant to watch this film, especially Western people. Eddie is misgendered throughout this movie, but that is more of a reflection of his cultural context than how accepting or unaccepting the speakers are. There is a lot of nuance in this movie, and unless someone appreciates that, I think they might have a knee-jerk negative reaction to Facing Mirrors , which is a genuine shame. I loved this film. I'm so glad it got made. Entry last updated: 19 Mar 2026

Avery, a trans man played by American trans male actor Elliot Fletcher, is misgendered and deadnamed by a sibling who is dealing with self-hatred and internalised bigotry. Brother X Short Film 2018 United States of America Avery, a trans man played by American trans male actor Elliot Fletcher, is misgendered and deadnamed by a sibling who is dealing with self-hatred and internalised bigotry. Watch. Available Summary: A young man's difficulty accepting his transgender brother leads him to confront the contradictions in his own identity. While he cannot bring himself to understand his new brother's experience, he himself spends his nights clubbing in Hollywood dressed as a woman. This semi-autobiographic film explores the depths of scrutiny, self conflict, and harsh judgment. It focuses on identity and the experience of cognitive dissonance. -Conner De Mita. Note from Jack: Provided you are prepared for misgendering, deadnaming, and physical violence, this is a really good short film. I very much enjoyed it. Entry last updated: 8 Feb 2026

Tyler Ronan, a trans man voiced by American trans male actor August Aiden, reconnects with his twin sister after transitioning, the pair sharing supernatural abilities. The pre-transition version of Tyler is voiced by American actress Grace Kaufman. Tell Me Why Game 2020 United States of America Tyler Ronan, a trans man voiced by American trans male actor August Aiden, reconnects with his twin sister after transitioning, the pair sharing supernatural abilities. The pre-transition version of Tyler is voiced by American actress Grace Kaufman. Interview. Available Summary: In this intimate mystery, reunited twins Tyler and Alyson Ronan use their supernatural bond to unravel the memories of their loving but troubled childhood. Set in beautiful small-town Alaska, Tell Me Why features true-to-life characters, mature themes and gripping choices. As you conjure up memories of the past, your choices will affect the twins’ relationship, determine the strength of their bond, and shape the course of their lives. - Steam . Entry last updated: 24 Feb 2026

AJ, an Australian trans man, is interviewed about his decision to postpone his medical transition so that he could carry a child, with his former partner and friends interviewed as well. Photographs which were taken of him before, during, and after his pregnancy are displayed throughout the documentary. From Daddy's Tummy Documentary 2015 Australia AJ, an Australian trans man, is interviewed about his decision to postpone his medical transition so that he could carry a child, with his former partner and friends interviewed as well. Photographs which were taken of him before, during, and after his pregnancy are displayed throughout the documentary. Watch. Available Summary: Melbourne man AJ Kearns describes himself as just an ordinary father living in the suburbs with his two children. But there are many who would disagree. Born into a conservative Pentecostal family in Sydney, AJ spent the first 35 years of his life as a woman. As a teenager, Vicki-Anne thought she was gay and attended controversial church-based conversion therapy in the hope of becoming heterosexual. After years of struggle, AJ realised that he was a man and went on to create a family with his partner Zu White. But he then took the surprising step of postponing his physical transition to become pregnant. Psychiatrist Dr Fintan Harte says it's the first time in over 30 years of practice that he's encountered a trans-identified male who has conceived a child. From Daddy's Tummy tells the story of AJ and his family and showcases a stunning photographic record of his physical transition from female to male by Melbourne artist Alison Bennett. -Australian Broadcasting Corporation. Links: ABC article. Alison Bennett's website. Entry last updated: 8 Feb 2026

Ray, a straight teenage trans boy played by American actress Elle Fanning, tries to transition with unsupportive and hostile family members. 3 Generations Film 2015 United States of America Ray, a straight teenage trans boy played by American actress Elle Fanning, tries to transition with unsupportive and hostile family members. Trailer. Available Summary: As a teen manages his mom and grandma's perceptions of his transition, his distant father unexpectedly becomes a required part of the process. -Netflix. Jack's Summary: This film opens with a sixteen-year-old trans boy named Ray saying, "Every year I blow out my candles, and I make the same wish... I wish I was a boy." Ray is then shown attending a doctor's appointment to discuss beginning testosterone. While he is well into puberty and is an older teenager, he is not yet legally an adult, so Maggie (his mother) is accompanying him. This, of course, makes sense. Parental consent is required for him to begin any kind of medical transition, and it's important that he is supported by his parent in making such a significant decision. Ray, his mother, and his grandmothers at Ray's medical appointment. What makes less sense is that Dolly (Ray's unsupportive grandmother) is also in attendance, dramatically lowering her face into her hand when the doctor mentions that top surgery would be needed in the future if Ray wishes to have a flat chest. If you want to watch this film, you will need to make peace with the fact that this cruel woman inserts herself into Ray's transition with shamelessly transphobic views, and Maggie lets this happen. More to the point, Ray lets this happen. After the appointment, Dolly fretfully asks, "What about trying something alternative?" Maggie, clearly prepared for her mother to say something that ridiculous, replies, "What, like acupuncture? We'll see you at home, mom." She strides away, Ray in tow, leaving viewers to wonder why Dolly was even invited if she was going to be so predictably ridiculous about her trans grandson approaching such a significant milestone in the treatment of his gender dysphoria. That night, during dinner, Dolly manages to refer to Ray correctly for a while, but after a few drinks she abandons any consideration for Ray's dysphoria or discomfort, calling him a lesbian and describing his upcoming transition as a mutilation. Maggie eventually shows some resolve, insisting that Ray is just trying to be authentic to who he really is, shutting down the debate for a short while. We've seen this before... In a long, lingering scene, the camera pans up and down Ray's body as he undoes his flannel shirt, takes off his t-shirt, and unwinds elastic bandages from his body. The bandages are perfectly, tidily wrapped around his slender body, offering a classic example of bandage binding; a practice which, in reality, is very unsafe and is rampant across depictions of trans men in the media . The pain and increased risks associated with bandage binding are not addressed in this film. It is portrayed wholly unrealistically, without vulnerable or impressionable viewers in mind. Later, Ray moves on to using a chest binder, but this choice is not presented as being motivated by health concerns; one might think he's simply made the switch out of convenience or mere preference. There is a blink-and-you'll-miss-it moment where he says, "No more ACE bandages," which is not nearly sufficient to explain why someone shouldn't bind the way he does earlier in the movie. Returning to our plot... Maggie is reluctant to sign the parental consent forms which will allow Ray to hormonally transition. That night, when Ray asks her whether she has signed the forms, she dodges the question. It is clear that she is dealing with her own anxieties and doubts about Ray’s transition, but there is the added issue of Ray’s legal father, Craig. He has not seen Ray since he was a baby, and has no idea that Ray intends to transition. Maggie’s attempts to get his contact information are frustrated by bureaucratic hurdles, her own impatience, and (at one point) Ray being a precocious brat who keeps interrupting his mother’s phone call. He is a sixteen-year-old kid, after all, so I suppose it makes sense that he’s incredibly annoying at times. We’ve all been there. Ray waiting to use the toilet. The film takes a moment to acknowledge the struggle of a trans kid who is not comfortable using the male or female toilets at his school, showing Ray sneaking away to use the single-stall toilet at a nearby restaurant. It’s a quick scene, but I appreciated it. I’ve known several trans men, transmasculine people, and AFAB non-binary people who have been physically assaulted by women for using the women’s toilets, sexually assaulted when using the men’s toilets, or had the police called on them for using either one. Single-stall toilets can be very, very important for early-transition people and those who are visibly gender non-conforming. Maggie, stressed by her son’s transition and by a looming professional deadline, sleeps with a cis man named Jake to blow off some steam. When she wakes up the following morning, she asks him, “What’s it like having a penis?” Jake is baffled by this question, and even more so by the ones which follow; “You don’t wish it was more organised? Or… contained? I don’t mean, do you wish you had a vagina, I just mean… the penis itself, do you wish it was more… neat? Or… in there?” The first time I watched this film, I was willing to give her the benefit of the doubt, and imagine that the mere concept of a surgical transition had made her curious about genital changes, and what that might feel like. I assumed that, surely, she wasn’t thinking about her own child’s genitals after having sex with someone. Unfortunately, I was a bit too generous in that assumption, because in a deleted scene Maggie is shown to be closely considering Ray’s genitalia and how he uses it. “Do you think they have sex?” She directs this question at Frances, Dolly’s partner, and then elaborates, “I mean, at least some of the kids in Ray’s class are definitely having sex, but do you think he has sex? And as which gender?” She later adds, “As a boy or a girl?” Frances, a lesbian who should be well-equipped to interrogate the notion of having sex “as a girl” or having sex “as a boy”, these being the kinds of regressive sexual ideas which dominate homophobic discourse, hardly even reacts to these incredibly creepy questions. To me, this is just as inappropriate and regressive as a mother wondering whether her lesbian daughter has sex “as a boy” or “as a girl.” Those roles imply dominance and submission, giving and receiving, and are bloody weird things to be pondering about your child. Beyond that, Ray is a boy no matter how he has sex, if he has sex at all. I can see why this scene was deleted. Back to the movie itself, Ray is shown doing sit-ups, lifting dumbbells, and filming video diaries while wearing his chest binder. Binding while exerting yourself affects breathing and may cause pain , so you should proceed with caution before following the example set by this movie. We are introduced to Lola, who Ray is watching from afar at a skatepark. She is his classmate and Ray, who appears to be a heterosexual trans man, is pining for her. This scene exposes another aspect of Ray’s immaturity; as his male friends joke about whether Lola is a virgin and other equally mature topics, Ray laughs along, observing without issue if not participating himself. Like many young men, and many young people in general, Ray clearly sees no issue with crass, sexual, and objectifying gossip about other people. His amused mood turns dour only when one of the boys claims that Lola “only likes big dicks”. Judging by a comment made later in the film, Ray wishes to have bottom surgery and feels incomplete without it. Ray, annoyed at his mother. At home, he edits footage of him and Lola walking together, accompanied by a musical beat which he sings alongside. It sounds very rough, which is entirely consistent with any music that I produced as a teenager. His mother walks in and asks him how his day was, to which he replies, “That kinda depends on whether or not you signed the papers.” Maggie avoids the issue once again, making it glaringly apparent that she does not want to sign the parental consent forms, referring to Ray’s transition as “this shit” and lamenting that she is the only parent to deal with it. (We find out, eventually, that this is largely her fault. More on that later.) Naturally, the trans teenager who is desperate to transition and sick of being dysphoric, storms out in anger. Maggie and Dolly look through Ray’s childhood photographs together after Ray leaves. Dolly laments, “To think that I spent my whole life working so that women could have control over their bodies, and now I have to call my granddaughter ‘he’.” The irony of Dolly’s statement is that she’s close to appreciating what Ray is doing, but is being led by her hatred of Ray's gender. What she has fought for is the right of those who were born female to have control over our bodies, and to make decisions about our bodies. That is precisely what her grandson is doing, but she wants him to make decisions which she approves of. She explains Ray's transition by saying, "she defected," detracting from his personal agency and instead prioritising men-versus-women politics. The hypocrisy of Dolly's condescending view is that she believes in autonomy, but only when it complies with her political values. She’s a very frustrating character in that respect, and an accurate manifestation of many real-world mindsets. As Ray puts it, “For a lesbian, you’re pretty judgemental”. Ray showing his mother footage of him being trans-bashed. While Maggie and Dolly are taking a stroll down memory lane, Ray is wandering the city and skateboarding to settle down after the argument with his mother. A group of teenagers approach him on the street. Verbal assault turns into physical assault and sexual harassment, with one guy demanding to see Ray’s genitalia. After being grabbed, pushed around, and punched in the face, Ray returns home. The scene which ensues is intended to be comedic, with his mother and grandmothers fluttering around him in a panic, unsure what to do about his black eye. I don’t find it particularly funny. He’s just been physically attacked, which is pretty stressful, and even then his family members can’t be bothered to put in the effort to refer to him correctly. In a moment when he is clearly uncomfortable and potentially distressed, he really doesn’t need the added discomfort of dysphoria. The needling “her”, “gal”, “she”, and “granddaughter” comments really get old. Later in the night, Ray shows his mother footage of the trans-bashing, which he filmed on his phone. He is asked whether he is a boy or a girl, told to show his dick, and called a faggot. You’d think that seeing her trans son abused would ensure Maggie would assertively silence any future misgendering or deadnaming, but no, the drama inevitably continues. Ray's legal father. Maggie reunites with Craig, Ray’s legal father, and informs him that Ray is transitioning and has identified as a boy from a young age. She reveals that the pair of them have been through years of therapy together, that she has consulted doctors and other medical professionals, with the firm conclusion being that Ray is trans. Craig is reluctant to sign the parental consent forms, saying, “She may not be able to get pregnant. What if she changes her mind?” Maggie replies, “What if he commits suicide?” Now, as a trans bloke myself, I think Craig’s reluctance is understandable, his questions are fair, and his request to see at least see a pamphlet of information seems like the bare minimum… But this discussion was never going to be productive in the slightest, because it quickly deviates away from Ray’s transition and toward the pair’s failed relationship. In truth, Craig is not Ray’s biological father, because Maggie cheated on him with Matthew, Craig’s own brother. That’s why Craig has been completely absent from Ray’s life, and that’s one of the reasons Craig is so reluctant to just sign whatever Maggie tells him to sign. The pair argue and Maggie leaves without getting his signature. Ray showing his father parental consent forms. A few scenes later, Maggie tells Ray that his father has refused to sign the parental consent forms. Sensing, correctly, that he’ll be waiting forever if he doesn’t do something himself, Ray takes matters into his own hands. He buzzes his hair shorter, finds Craig’s address in his mother’s notebook, gets on a train, and goes to see his “father” for the first time in over a decade. Craig is stunned to see Ray, but lets him inside. Ray shows him the parental consent forms and asks him to sign. Craig, clearly uninformed about gender incongruence/dysphoria being innate qualities, remarks, “I’m sorry if you’re this way because of me,” referring to the lack of a father in Ray’s life. Then, with seemingly genuine curiosity, he asks, “Are you this way because of me?” Ray coldly replies, “I’m a lotta things because of you. This isn’t one of them.” Given the misinformation about trans identities being “caused” by parents, or lack thereof, I appreciated that pushback. Ray explaining things to his step-sister. During an awkward dinner with his father, stepmother, stepbrother, and stepsister, Ray has to explain his gender to his young siblings. He does this by saying, “I was born in a girl’s body.” His sister asks, “But you’re a boy?” After Ray nods in confirmation, the girl asks, “Can they fix it?” Ray, pointedly looking at his father, says, “Mostly.” The girl, unaware of the tension, muses, “I’m a girl in a girl’s body… I think.” Ray laughs and, addressing both children, says, “That’s good. You’re lucky. You’re both lucky.” I’m not particularly bothered by Ray’s phrasing. He was simplifying things to a child who may not have grasped an explanation like, “my gender doesn’t correspond to the one I was assigned at birth.” Some of us do feel that we were born in the wrong bodies, and did look at our pre-transition bodies as being a girl’s body. Naturally, I can understand why others are uncomfortable with that phrasing, so it should certainly only be used if someone self-identifies that way… and Ray clearly does. Meanwhile, Maggie is driving to Craig’s house with her mothers in tow, but I’ll skip the unnecessary drama and misgendering that entails. Maggie crying over a haircut. When Maggie arrives at Craig’s house, she is confronted by Ray’s short hair. Crying, Maggie whispers, “She promised she’d never do that.” I found this pretty eye-roll-worthy, if only because Maggie makes this misgendering comment in front of Craig, who is hardly convinced of Ray’s male gender as it is. And, to be frank, I don’t understand the difference between Ray’s above-shoulder-length hair at the start of the movie, and his buzzed hair towards the end of the movie. He practically had a bloke’s haircut to begin with, just another style. It’s not like he had incredibly long hair which carried some religious or cultural significance that was lost when he buzzed it off. I also take issue with a parent, who supposedly supports her trans son, making him promise to never cut his hair. Ask for time and understanding, and let him know that cutting his hair may impact you, but don’t make him promise to never modify his appearance in a way which may affirm him. His body, his choice. Ray states that he will not leave his father’s house until the parental consent forms are signed. This almost happens, but of course, drama must occur. Maggie’s infidelity is revealed to Ray, and he learns that his uncle Matthew is not an uncle at all, but rather, his biological father. Ray has a meltdown, and his (unfortunately overacted) screaming sobs finally make the pair shut up, which is a bloody relief. The drama goes on for a bit, mainly consisting of Ray being justifiably pissed at his mother for lying to him all his life, and for letting him hate Craig for abandoning the family when that’s not what happened at all. Most of all, though, he is furious that his transition now seems impossible until he is an adult, because his legal guardians can't get their shit together. Dolly supporting Ray. Finally, in the face of her family basically falling apart in front of her, Dolly gets over her bullshit and becomes supportive of Ray. I’m still mad that, every single time I watch the scene where she first refers to Ray as her grandson, I always tear up. This movie has so many damn flaws, and she’s such a blasted bigot, but fuck if that moment doesn't hit me hard. She later approaches Ray directly: DOLLY: I thought you were too young to know what you wanted, but you do know, and… I was just afraid, and now I realise that, well, who you are and who I love is staying the same, and everything that’s changing is just details. RAY: What are you saying? DOLLY: I’m saying that it’s about time that we had a man in this family. This seemingly signals a turning point in Ray's story, with a happy ending visible down the road. The most combative, transphobic, hostile person in his life has accepted him, making everything else seem possible too. Craig and Matthew both approach Maggie, wanting to support and know Ray, though neither were able to raise him. To show his sincerity and genuine desire to be a part of the family, Craig signs the parental consent forms. In a quiet moment, acted with far more realism and subtlety than Ray's screaming meltdown, Ray's chin wobbles as he holds back tears of happiness. Ray gets his happy ending. He is prescribed testosterone and, wearing a suit, has dinner with his whole, messy family, including his two sorta-dads. TL;DR... I have a soft spot for this film, but after my most recent rewatch I'll happily admit that it's not great. There is so much self-indulgent transphobia, courtesy of Dolly, to the point that trans audiences were seemingly an afterthought. If you're dealing with a Dolly at home, in your own life, you're hardly going to enjoy watching her bully Ray throughout the majority of this movie. That said, if you make it to the end, you may get emotional when you see him finally being accepted by her, and his other family members. Elle Fanning, from the interviews I've watched, had good intentions when she approached this role. She describes connecting with trans boys, learning about all of their different experiences, and trying her hardest to provide a respectful portrayal of a trans guy. This movie, and the role of Ray, mattered to her. Regardless of Fanning's efforts, though, this is undoubtedly an example of an actress being considered capable of playing a trans man simply because she is slender, young, and light-skinned... An approach to casting too often employed across film and television, including Degrassi , Dead of Summer , Unsound , Von Trapped , BOY and so on. Referring to the casting of Ray in this interview , the director Gabby Dellal says, "I could not have chosen a more blonde, more feminine actress... The part is a girl and she is a girl who is presenting in a very ineffectual way as a boy. She’s not pretending to have a deeper voice. She’s just a girl who is being herself and is chasing the opportunity to start hormone treatment. So to actually use a trans boy was not an option because this isn’t what my story is about." These comments, to put it plainly, are fucking bizarre. Not only does Dellal's perspective on Ray completely miss the entire bloody point of the movie, they're also in direct conflict with Fanning's own understanding of the trans boy that she played. Fanning was only sixteen or seventeen when she was cast as Ray, yet she managed to grasp who he was more than the film's actual director. Entry last updated: 17 Mar 2026

Alike, a masculine-of-centre butch played by American actress Adepero Oduye, embraces her identity in defiance of her bigoted and violent mother. Pariah Film 2011 United States of America Alike, a masculine-of-centre butch played by American actress Adepero Oduye, embraces her identity in defiance of her bigoted and violent mother. Trailer. Available Summary: A Brooklyn teenager juggles conflicting identities and risks friendship, heartbreak, and family in a desperate search for sexual expression. -IMDb. Jack's Summary: To be clear: This is not a trans male film! But I feel it's important to include here, because the protagonist's journey will likely reassure some gender-questioning visitors to this site that, yes, there are people like you in the world. If you're trying to figure out who you are, this film will give you a window into masculine-of-centre (MoC), boi, stud, butch, and aggressive (AG) expression, and you may find yourself there. Alike, pressured into dressing differently. Alike (pronounced ah-lee-kay), the protagonist of Pariah , expresses herself masculinely when able to, and is intensely uncomfortable when made to wear feminine clothing. When forced to wear a skirt and a pink shirt, she insists, "this isn't me". Throughout the film she tries to figure out who she is, and tries to live authentically despite an intensely homophobic mother who ultimately becomes physically violent when Alike stands up for herself. Alike, scarred from her mother's violence. There are certainly many warnings which apply to this film. Another AG is sexually harassed by men as Alike's father watches without comment, Alike faces merciless bullying and eventual physical abuse from her mother, and a minor character struggles with internalised lesbophobia. Additionally, the phrase "he-she d*ke" is used to attack another MoC person. Regardless, this is a beautiful and profoundly important film that deserves more widespread appreciation, with incredible acting, a happy ending, and nuanced characters. You just need to prepare yourself before watching. There are so many complex identities in this world. There are lesbians who identify as transmasculine. There are butches who affirm themselves through low doses of testosterone, and sometimes even top surgery (including a butch in this video , and many butches photographed by the incredible organisation Butch Is Not A Dirty Word). There is so much beauty and gender-diverse nuance beyond being a binary trans man, which does happen to be my label and where I have found my pride. If you don't see yourself in films about trans men, don't give up! See if you recognise yourself in Pariah . Entry last updated: 8 Feb 2026

Jamie Wildman, a 69-year-old American non-binary person, is interviewed about gender, sexuality, coming out, and pride. Coming Out as Non-Binary at Age 69 Interview 2020 United States of America Jamie Wildman, a 69-year-old American non-binary person, is interviewed about gender, sexuality, coming out, and pride. Watch. Available Summary: Meet Jamie Wildman, who is coming out as non-binary at age 69, after previously coming out as a lesbian. [Jamie shares Jamie's] coming out story, including remembering seeing the Stonewall Riots taking place. Jamie is proving that it’s never too late to come out, no matter how old you are. -YouTube. Jack's Summary: In this interview, the late Jamie Wildman discusses figuring out gender later in life, saying, "I identify as non-binary, lesbian... It's, um... I'm working on it." Jamie talks about having "transgender tendencies" at a young age, and praying at night for a male body. When it comes to pronouns, Jamie says, "I've settled on Jamie. Just call me by my name". Jamie recalls the Stonewall Uprising, coming out as lesbian, and the importance of self-acceptance and affirmation. "I learned that I was non-binary before [coming out as non-binary], but I just didn't have the definition," Jamie explains, "I still don't feel that I fit in any category. I don't think there's a time limit. There's no time limit for coming out". A very sweet and important short interview! Frustratingly, PinkNews (the organisation which posted this interview), does not refer to Jamie in the requested way, using pronouns where Jamie has instead expressed a desire to be addressed purely by name. I've edited the quoted description accordingly. Entry last updated: 8 Feb 2026

Jay Sennett, an American trans man who started taking testosterone in 1996, shares his experiences and offers some advice in this short video. Long-Term Effects of Testosterone Talking Head 2019 United States of America Jay Sennett, an American trans man who started taking testosterone in 1996, shares his experiences and offers some advice in this short video. Watch. Available Summary: I began taking testosterone in 1996. In this video I discuss long-term consequences of taking testosterone for me. Please note this video is educational only. You should discuss taking testosterone with a qualified physician or nurse practitioner. Living long-term on testosterone, I've gone bald. That's about the worst thing that has happened to me. But I can't say I'm surprised. My father and younger brother are also bald. -YouTube. Jack's Summary: In this video, an American female-to-male transsexual who began transitioning in 1986 speaks about the long-term effects of being on testosterone, in his experience. He describes himself as being very happy with the changes, happy to be ageing as a man, loving having a deeper voice, and being empowered to have sex with women. He says that, while he has experienced high cholesterol and borderline high blood pressure, both have been controlled through exercise and, where needed, medication (a common situation for many older men, and many people in testosterone-dominant bodies regardless of gender). He says that he cannot point to any negatives solely due to testosterone. He urges people considering starting hormone replacement therapy, specifically testosterone, to consult a doctor and/or a nurse practitioner. He recommends caution when it comes to highly politicised and negative online conversations about long-term testosterone use. Entry last updated: 24 Feb 2026

This documentary shorts series, which focuses on Indigenous and Aboriginal trans men and women, includes trans men Max and Jeremy. Transblack (Ep1, Ep3) (2018) Documentary, Show 2018 Aotearoa (New Zealand), Australia This documentary shorts series, which focuses on Indigenous and Aboriginal trans men and women, includes trans men Max and Jeremy. Watch. Available Summaries: "As Max heads into the final stages of his transition into manhood, he searches for acceptance and investigates the possibility of initiation through Aboriginal ceremony." -Episode 1. "For the first time in his life, Jeremy experiences male privilege, and must learn to navigate the world without losing his morals and principles." -Episode 3. WARNING: Outdated medical advice, potentially confronting topics, discussions of unsafe binding without elaboration or disclaimers/warnings for viewers. Max briefly mentions "over-binding" to deal with his dysphoria, prior to his mastectomy. Menstruation is briefly discussed in Max's episode. Outdated medical advice is given, saying that ovaries should be removed after 5 years on testosterone which (to my knowledge) is not the recommended approach anymore. Please seek medical advice from a qualified medical professional if you are ever considering invasive surgery, and know that removal of the ovaries may cause menopause symptoms, regardless of your age. Max is prevented from performing male roles in his community due to his transition progress, but a male community member is shown supporting him. A photo is shown in Jeremy's episode which appears to depict duct tape chest binding, but it's unclear if that's what's being displayed. There is brief discussion of substance abuse and suicidal ideation, followed by a lovely moment where Jeremy's mother recalls encouraging him to seek gender-related support, because she thinks his struggle is actually with gender, not sexuality. Menstruation is briefly mentioned. Explicit language is used during discussions of sex, anatomy, and surgery. Jeremy's mother is very supportive and quite funny. Taz, a Brotherboy , features in Jeremy's episode, with his twin sister. Entry last updated: 12 Mar 2026