Yoseñio Lewis, an American trans man, is interviewed about his life, transition, trauma, and faith. Yoseñio Lewis Interview 2021 United States of America Yoseñio Lewis, an American trans man, is interviewed about his life, transition, trauma, and faith. Watch. WARNING: References to child sexual abuse. Available Summary: Yoseñio Lewis was born in October 1959 in Newport, Rhode Island. A transgender man and Latino of African descent, he is also a trans rights activist, educator, and musician. From the age of five, Yoseñio was sexually abused by five relatives, resulting in him becoming pregnant at age 13. He only found out about the pregnancy when he started haemorrhaging blood in his school’s Science class. Sadly, his daughter was delivered stillborn. This traumatic event had a profound impact on Yoseñio, and he continues to commemorate his daughter to this day. One of Yoseñio’s early experiences as both an activist and writer came when he was asked to write a poem for Earth Day 1975 at the age of fifteen. As a teenager, he also wrote a letter to the governor of Providence when a fellow student was being bullied. These experiences planted the seeds for Yoseñio’s future as an activist and artist. It wasn’t until he was 33 that Yoseñio came out as FTM (female-to-male) after a friend told him, “You’re trans.” Yoseñio denied it at the time but eventually realized that his friend was correct after attending support meetings and reading the FTM Newsletter. He was so overjoyed about finally having language for his experience that he told everyone, including strangers on the bus. Yoseñio became involved in trans activism when his support group started producing conferences. His first focus was on policy changes in San Francisco to allow trans people to receive insurance without restrictions on transgender care. This was inspired by a significant medical issue of his own: Yoseñio’s body had been producing both too much testosterone and too much estrogen. After suffering from constant bleeding for a year and a half, being accused of faking his illness, and being passed from doctor to doctor, he was diagnosed with stage two uterine cancer, which he was initially unable to get insurance for. He got a friend to give him a job at a drug treatment program for three months before he could qualify for insurance and undergo a hysterectomy. Following his surgery, he underwent testosterone hormone replacement therapy and later had a mastectomy for breast cancer. Amidst the trauma he has faced in his life, Yoseñio remains a powerful voice for transgender rights. He has been recognized for his activism and contributions to the community, including being one of the inaugural members of the Trans 100 List. He is a founding member of “The TransAms,” an all-transgender barbershop quartet, and helps to train medical professionals on how to treat trans people. He also set up an HIV/AIDS education group at a halfway house for federal offenders. Yoseñio has struggled to reconcile his body with his religious upbringing, initially believing that he was an “abomination unto the Lord.” However, he now accepts that he was born exactly as he was so that he could use his experience to be a mentor and help others: "If I am a representation of God, how dare I say I can’t shine, I can’t show my light, I can’t be in the world, I can’t take up space? That is the abomination unto the Lord, when I don’t use the gifts that I’ve been given." -OUTWORDS Archive. Entry last updated: 8 Feb 2026

Masoud El Amaratly, an Iraqi folk singer, was born female and lived as a man; a Mustarjil in Ahwari culture. This compilation features eight of his songs. اغاني مسعود العمارتلي ١٩٣٣ (Songs of Masoud El Amaratly 1933) Music 1933 Iraq Masoud El Amaratly, an Iraqi folk singer, was born female and lived as a man; a Mustarjil in Ahwari culture. This compilation features eight of his songs. Listen. Available Information: Masoud El Amaratly is an Iraqi singing legend. Born at the turn of the 20th century, in the lush marshes of southern Iraq, El Amaratly captured Iraqis’ hearts with his powerful renditions of Rifi folk songs that evoked a sense of lament, melancholy and longing... El Amaratly is not only one of Iraq’s most famous singers; he is also one of the Arab World’s most well-known transgender icons... While working as a shepherd at a town elder’s home, El Amaratly would start his day at dawn singing rural folk songs. One day while he was out in the fields, two men followed Masoud in an attempt to harass him. He stopped them, bound them, and led them to his employer’s home, where they confessed. The town’s people praised his courage for stopping and standing up to the harassers. At that point, Masoud’s appearance was still feminine-presenting, but his job as a shepherd, as well as his actions which were perceived by his community as “strong” and “masculine,” created the perfect opportunity for him to begin expressing his gender identity on the exterior. From that moment onwards, he reportedly began donning traditional male dress (Shemagh and Agal). It was also around the same time that his singing began to gain praise too, and he was invited to perform at various occasions around town. He later moved to Al-Amara, in south-eastern Iraq, where he would sing in cafes... After serenading his adoring fans for years, Masoud El Amaratly later returned to his hometown and married a local domestic worker. He then got married again to a lady called Kamila. - Marwan Kaabour . Mustarjil is an Arabic term meaning “becoming [a] man.” Although it can be used derogatorily to refer to women who are perceived as having a masculine appearance and/or mannerisms, in Iraq’s marshes, it existed as a gender identity. Within the context of the Ahwari community, Mustarjil was a common gender identity, where people assigned female at birth decide to live as a man after puberty, and this decision was generally accepted in the community. - Marwan Kaabour . Entry last updated: 28 Mar 2026

Francis, a 47-year-old Russian trans man living in Spain, is interviewed about his transition, family, and experiences of discrimination. Trans and gender-diverse rights in Russia are also discussed. Being Transgender in Russia Documentary, Short Film 2024 Russia, Spain Francis, a 47-year-old Russian trans man living in Spain, is interviewed about his transition, family, and experiences of discrimination. Trans and gender-diverse rights in Russia are also discussed. Watch. Available Summary: In July 2023, Russia passed a new law banning transition for transgender people - they can no longer get medical help or change their documents. Then, in November 2023, the international LGBT movement was legally defined as an "extremist organisation" by Russia's Supreme Court. BBC News Russian interviewed two transgender people from Russia, for whom leaving the country was a matter of safety. Ada, a young trans woman, says a close relative tricked her into so-called conversion therapy in a remote village in Siberia. She claims she spent nine months there and was forced to do manual labour and participate in activities, such as castrating pigs, intended to humiliate her. By the time she escaped, Russia had changed - the invasion of Ukraine had begun, and a new anti-LGBT law was about to be passed. She stayed in Russia for as long as she could helping other transgender people, but, eventually, she felt she had to leave because of the "extremist" law. Francis, a middle-aged trans man, left Russia because, he says, the state threatened to take away his children. In 2017 he underwent a mastectomy, which attracted the attention of child protection services. As a result, two of Francis's adopted children were taken away from the family. He says he began to receive threats that the authorities would terminate his parental rights to his other three biological children. -YouTube. Entry last updated: 4 Mar 2026

James, a trans man played by Australian gender non-conforming actor Del Herbert-Jane, comes out to his daughter, starts his transition, and begins a new relationship with a woman. 52 Tuesdays Film 2013 Australia James, a trans man played by Australian gender non-conforming actor Del Herbert-Jane, comes out to his daughter, starts his transition, and begins a new relationship with a woman. Trailer. Available Summary: Sixteen-year-old Billie's reluctant path to independence is accelerated when her mother reveals plans for gender transition and their time together becomes limited to Tuesday afternoons. Filmed over the course of a year, once a week, every week (only on Tuesdays) these unique filmmaking rules bring a rare authenticity to this emotionally charged story of desire, responsibility, and transformation. -YouTube. Jack's Summary: This indie film follows an Australian bisexual teenager as she adjusts to her parent coming out as a trans man, and also explores her own identity. It's quite a confronting film, because it very accurately captures Australian bigotry and transphobia circa 2015 (certainly in my experience). Hurtful comments are frequently employed as a way to delegitimise James's transition. He is mocked for transitioning later in life and is generally treated like shit. Take note of the misgendering in the film's synopsis itself; it's reflective of the entire film. Billie, James's daughter, is a precocious, stubborn young woman. She's not meant to be likeable and, while I developed an amount of sympathy for her as a character, I did feel that her hostility distracted from the movie's main plot of acceptance and love. Her pettiness and aggression culminates in a scene where she punches her still-healing father in his chest, following his mastectomy. James struggles with alcohol use disorder and depression when he has to discontinue testosterone due to medical issues. He has to attend mandatory therapy to get legal permission to transition, which is reflective of past gender transition laws in Australia. There is a happy ending, but boy, James has to go through some awful stuff beforehand. You'll need to be comfortable with trans characters being dragged through the mud to watch this flick. Overall, the film's quality is not spectacular, but you may relate to several scenes that involve the trans main character. He is middle-aged, has an onscreen sexual relationship with a woman, travels to meet other trans men (played by actual trans men), and finally figures out his sexuality later in life. Del Herbert-Jane, who plays Jane/James, originally joined the project as a gender diversity consultant, before being convinced to play the trans main character. WARNING: Unsafe chest binding. James, early in his transition, binds with bandages and duct tape. 52 Tuesdays makes no effort to educate viewers about how dangerous such binding methods are, which is irresponsible. Learn more about chest binding here. Entry last updated: 8 Feb 2026

Freddy McConnell, an English trans man, is filmed throughout the process of pausing testosterone hormone therapy in order to undergo artifical insemination and become pregnant, ultimately giving birth to a son. The documentary also addresses the hate and bigotry he experiences as a result. Seahorse: The Dad Who Gave Birth Documentary 2019 England Freddy McConnell, an English trans man, is filmed throughout the process of pausing testosterone hormone therapy in order to undergo artifical insemination and become pregnant, ultimately giving birth to a son. The documentary also addresses the hate and bigotry he experiences as a result. Watch. Available Summary: One trans man’s pioneering quest to fulfil an age-old desire: to start his own family. This is the story of the dad who gave birth. Freddy is 30 and yearns to start a family, but for him this ordinary desire comes with unique challenges. He is a gay transgender man. Deciding to carry his own baby took years of soul-searching, but nothing could prepare him for the reality of pregnancy, as both a physical experience and one that challenges society's fundamental understanding of gender, parenthood, and family. He quickly realises that what to him feels pragmatic, to others feels deeply confusing and confronting. This was not part of his plan. Against a backdrop of increasing hostility towards trans people the world over, Freddy is forced to confront his own naivety, mine unknown depths of courage, and lean on every friend and family member who will stand by him. Made with unprecedented access and collaboration over three years, the film follows Freddy from preparing to conceive right through to birth. It is an intimate, audacious and lyrical story for the cinema about conception, pregnancy, birth and what makes us who we are. -Vimeo. Entry last updated: 22 Feb 2026

Joel, a teenage trans boy played by Spanish trans male actor Ander Puig, is non-disclosing at a new high school, where he attends acting class and grows close with other teenagers. Ser o no ser (To Be or Not to Be) Show 2022 Spain Joel, a teenage trans boy played by Spanish trans male actor Ander Puig, is non-disclosing at a new high school, where he attends acting class and grows close with other teenagers. Watch. Available Summary: The plot follows the story of 16-year-old trans student Joel, who joins a new high school in order to pursue the title of Baccalaureate with specialisation in performing arts. Choosing to not disclose his gender transition to his new classmates, he struggles with the requirements from his acting teacher. Meanwhile, he develops a crush on classmate, Ona. -Wikipedia. Note from Jack: Thank you to Marvin for reaching out with this recommendation! Entry last updated: 22 Feb 2026

In this alarmist and insensitive documentary, trans men Scott, Dirk, Ryan, and Jamison Green are interviewed alongside anti-trans doctors. Changing Sexes Ep.2 Documentary 2008 United States of America In this alarmist and insensitive documentary, trans men Scott, Dirk, Ryan, and Jamison Green are interviewed alongside anti-trans doctors. Watch... But I Wouldn't Recommend It! Jack's Summary: Oh, boy. So, I am an FTM transsexual. I am a man who was born female, and I live my life as a male as much as possible. I always like seeing media where transsexuals use that word, my word, because I feel represented and connected to transsexual men throughout history. This ain't it. The issue is not with the interviewees themselves. The issue is with the smooth, toothpaste-ad-esque voice which mislabels, misgenders, and misrepresents trans men. One of the first lines in Changing Sexes is, "In this hour, four transsexual women, and their quest to live as men; the ethics, the science, and the search for acceptance in changing sexes." Women, eh? Seems you've fundamentally missed the point. An interview with a trans bloke, who firmly and unambiguously asserts that he is a man, is preceded by the narrator saying, "Rachel has decided that she wants to become a man". I can understand such an explanation if merely referring to the social role that a trans person has decided they will inhabit externally, but this documentary seems unable to grasp that trans men are already men internally. This is particularly an issue with "Rachel," who is not real enough a man for the filmmakers to refer to him as such. In testament to the invisibility/erasure of trans men, particularly in decades past, the documentary asserts that three-fourths of trans people are trans women, and only one-fourth are trans men (you can learn more about this invisibility/erasure in Then and Now ). Non-binary and gender-variant people, of course, not existing. The filmmakers responsible for this documentary seemingly missed the decidedly binary-transcending butch/trans Leslie Feinberg... Within three minutes, and with barely any context beyond the invalidating narration thus far, the documentary launches into an attack on transitioning. Viewers are introduced to the idea of transition surgeries, particularly bottom surgeries, by a doctor who is staunchly opposed to them. Much like TRANS , this documentary asserts that transgenderism/transsexualism is a thing that "happens" to people. "It does happen, even in the midwest, to little girls with idyllic childhood memories," the narrator croons, while showing childhood pictures of a trans man whose interview is about to be played. In this interview, the trans man talks about how his "idyllic childhood" was plagued by dysphoria and distress at his changing body. So, not that idyllic, then... Heidi. This man, named Dirk, has a girlfriend named Heidi. In a complete contradiction of the film's framing thus far, Heidi says, "What people should know about Dirk is that he's just a guy. He's not a woman who wants to be a man. He's just a man, and that's the only way he can live." Seems the filmmakers completely disregarded Heidi's perspective when they were writing the narrator's script. Dirk holding his testosterone dose. Dirk talks about transitioning hormonally and legally, in terms of his name change. Dirk's appointment with his supportive doctor is filmed. The narrator claims that being on testosterone replacement therapy will increase Dirk's risk of uterine cancer, necessitating a hysterectomy. No evidence or study is cited to back up this claim. Almost immediately after this claim, Dirk's doctor frankly says that (back in 2008 when this film was released) doctors do not yet know the long-term risks for trans individuals using testosterone... which contradicts the narrator's claims of certain and foreseeable health risks. The doctor, far less alarmist than the narrator, talks about monitoring bodily functions which can be impacted by hormones in any human body (including cis people), to ensure they stay within a "satisfactory range". It goes without saying that I encourage you to speak to qualified medical practitioners if you have any concerns about the risks associated with HRT. You deserve up-to-date, evidence-based information. Here is a video where a trans man, who began testosterone in 1996, talks about his experiences with HRT, and urges caution before you believe alarmist rhetoric on the internet... or in sensationalist documentaries. Moving on from Dirk, the documentary proceeds to discuss "Rachel," who is one day away from his top surgery. Referring to this man's parents, the narrator says, "They are devastated by her decision to become a man". The documentary then cuts to an interview where his sister is saying, "It's like a death in the family, because it is". We finally learn, during this interview, that this man's chosen name is Ryan. He is not referred to by this name because, again, he isn't a real man yet by the filmmakers' standards. Ryan's best friend speaks negatively about his transition, saying that she has told him, "You're still going to be the same person inside," with this seemingly affirming statement instead meaning that he, in her view, is still a woman inside, and will be trapped in an unwanted body post-op. Again... the point has been missed! Dirk binding his chest. Dirk is shown binding his chest using a sports bra, on top of elastic bandages, on top of a velcro binder without shoulder straps. This is extremely unsafe, and the physical dangers of binding this way are not specified. Dirk discussing the danger of being a trans man. Discussing binding his chest, and struggling with the binding falling down, Dirk says: It's just a stop-gap solution, for now, and it's going to fail eventually. And I don't know when that's gonna happen. Y'know, as it is, the past few months, I've pretty much just stopped going outside whenever I could, because it's just not worth the binding, more than anything. I'm used to being very physical, I'm used to being an active person, I work outdoors. And I love the winter. But I can't do it. And I'm not gonna go out unbound with my family, in the stage I'm in, because it's just not safe... If I have these breasts, that's such a red flag to people. Like, that person isn't what they say they are. That person's pretending to be a guy, but really he's a chick, you can tell. And, y'know, there's a safety issue there. There's lots of trans people getting killed. There's lots of hate crimes against trans people. I don't... I don't want that to be me. He is trying to access a mastectomy, but it is prohibitively expensive, leaving him stuck between a rock and a hard place. His safety, and his family's safety, depends on him being consistently read as male. After this sensitive and revealing segment focusing on the struggles of a rural trans man in the early-2000s, the anti-trans doctor from earlier in the documentary returns. If he were posing his concerns as questions, and perhaps consulting empirical studies, his commentary would have more value than the unfounded assertion he makes that a persistent trans identity and gender dysphoria are comparable to... being anorexic. Ryan calling his mother. Ryan is shown prior to his top surgery, tearing up as he calls his unaccepting mother and says that he loves her, asking that she pass on his love to his father as well. Truly heartbreaking and important. Footage of Ryan's surgery is not shown, but his chest is shown immediately post-op, which could be considered graphic to some. Proceed with caution. Returning to Dirk, the narrator notes how Dirk's son refers to him as "daddy," and remarks about how male he seems, then musing about whether Dirk and other trans men are "impostors". With every ad break, this film really does feel the need to remind viewers that FTM transsexuals should be doubted, viewed with suspicion, and distrusted. Dirk and Heidi then talk about the judgement, rejection, and transphobia they have both experienced, with the documentary seemingly unaware that such views are being encouraged by the film itself. What we see in Dirk is a man who is helping to raise his girlfriend's child, and that child has accepted him as a father. That's wonderful, but you wouldn't know it from the way this documentary prioritises sensationalistic rhetoric. Jamison Green. Jamison Green, a bisexual pioneer for trans male visibility and acceptance, is introduced around 33 minutes into the documentary. Because he looks and sounds like the filmmakers' idea of a man, he is consistently referred to with he/him/his pronouns, and by his chosen name; a courtesy not extended to Ryan, because of how he looks and sounds. Jamison's commentary on trans people, as ever, is progressive, calm, and understanding of those who feel threatened by transsexuals. It's a shame his valuable commentary is bogged down by the majority of this documentary. The documentary then turns to FTM bottom surgeries. Jamison talks about his decision to undergo metoidioplasty. No notes, fantastic stuff, I really appreciate him sharing his experience. Scott's phalloplasty scar. Scott, another trans man, talks about having phalloplasty and feeling so overwhelmed afterwards by the magnitude of what his body had to go through in order to alleviate his dysphoria. He had just undergone a major surgery which, ultimately, did provide what he had wanted and did work the way he had needed it to, but it was a huge undertaking. That is entirely understandable; as Finlay Games explored in his phalloplasty memoir Top to Bottom , phalloplasty can be incredibly arduous, even for people who passionately want it and ultimately thrive post-op. It's a big deal. Like any major surgery, it's physically exhausting, which is what Scott describes. He's only three months after his most recent surgery. He's still recovering and adjusting. The way that the narrator frames Scott's experience, though, is by dramatically saying, "When he woke up, he was horrified at what he had done". Alarmist, to say the least! No need for nuance here! The anti-trans doctor pops up again to say, "The people who are gender dysphoric are truly suffering. They're not kidding anyone, they're not dishonest people, they're not bad people". They are, however, people whose strongly-felt sense of gender should be disbelieved and compared to anorexia, though, I guess. With the context of his earlier comments, this weak defence of transsexual people comes across as condescending because, of course, we may not be bad people, but we still don't know what's best for ourselves and our bodies. He does. Another doctor argues against hormones and surgery, suggesting that psychological interventions should be used instead. Now, I personally believe that, yes, psychological support is very, very important whenever anybody (trans or not) is considering irreversible medical treatments, but that support is not what the doctor is keen on. He's keen on conversion therapy to fix us. Once again, he knows best. We don't. Ryan on testosterone. With only a few minutes to go in the documentary, viewers get to see Ryan one month after his mastectomy. This surgery legitimises his manhood enough that the narrator deigns to call him Ryan. Wonderfully, Dirk's friend Heather lends him a large sum of money so that he can finally have top surgery, paying it forward after her brother lent her a similar sum of money in the recent past. Ryan's relationship with his parents is healing, and he is happy with his medical transition. So, the people in this documentary end on a happy note, in spite of the documentary's best efforts. Entry last updated: 23 Mar 2026

Benjamin, a trans man played by French actress Noémie Merlant, pauses his medical transition to carry a pregnancy. He is in a committed relationship with a woman. A Good Man Film 2020 België (Belgium), France Benjamin, a trans man played by French actress Noémie Merlant, pauses his medical transition to carry a pregnancy. He is in a committed relationship with a woman. Available Summary: Benjamin and Aude want to have a baby, but when they discover Aude is unable to conceive, Benjamin comes up with a plan. -Wikipedia. Jack's Summary: The basic plot of A Good Man is that Benjamin, a trans man played by actress Noémie Merlant, decides to carry a pregnancy because his partner Aude, played by Soko, cannot. Benjamin and Aude. I did not like this film for many reasons beyond the fact that an actress was cast to play the trans male lead. It starts out alright and goes very quickly downhill. Benjamin is humiliated by numerous people who are simply forgiven for mistreating him, without ever needing to apologise for their actions. Benjamin's so-called "buddy" reacting very poorly after his friend comes out. Benjamin, at one stage, gives a self-flagellating speech about how he deceived his friend by living as a man and not coming out as trans earlier. It is an an absolutely awful scene. To put it plainly; a man living as a man is not deceiving friends. No self-respecting trans man, who has been low-disclosure (or "stealth") for years, as Benjamin has, should demean himself in the manner that Benjamin does. As a low-disclosure trans man myself, I found this scene utterly insulting. Benjamin's friend calls him a "woman disguised as a man" and a "goddamn liar". Benjamin says, "you're right" and agrees that he is a liar just for living as a man and not disclosing his private history. At this point, I wished to send the filmmakers a very sincere and heartfelt "fuck you!" Benjamin's mother engaging in a moment of self-pity while her son is receiving emergency care. In another scene, as the injured Benjamin lies unconscious in a hospital bed after fleeing physical violence, his transphobic mother is afforded a long, uninterrupted monologue as she stands wistfully at a window. She misgenders her son and laments the fact that he has always been difficult, not like the oh-so-perfect daughter she wished to have. Benjamin's partner, who is in the room, doesn't bother to stick up for him or correct the mother's language. After being called "sir-ma'am" by a nurse, Benjamin bursts into tears. At the end, Benjamin is left to give birth on his own. Aude fucks off, apparently happy for him to be mistreated by nursing staff with nobody to advocate on his behalf. Then, all of a sudden, his transphobic friend is magically happy to support him and provide him medical care, and he is suddenly completely comfortable with his mother watching him give birth, when she magically deigns to be a part of his life again. Never, at any stage in this film, is accountability needed. I'm not saying that all trans blokes will hate A Good Man , but I didn't like it. I hated the way that a happy ending was slapped atop a mountain of trauma, misgendering, and humiliation which the cis characters never had to apologise for. The argument could be made that Romeos (2011), one of my favourite films, is flawed in a similar way. But, while the trans male protagonist of Romeos (named Lukas) is certainly afforded a sudden happy ending after weathering all kinds of transphobic abuse, the key difference for me is his strength and pride. He stands up against harassment, he literally fights off abuse, and he doesn't take misgendering lying down. Benjamin, by comparison, agrees that he's a liar just for being a trans man, and then gives a tearful, pitiful speech to beg for his friend's compassion. Lukas doesn't beg anybody for anything. He certainly never agrees that he's a fraud or a liar, just because he didn't expose a part of his life/body which is nobody else's business. When Lukas does choose to forgive Fabio, a gay man who is attracted to Lukas but becomes hostile after learning Lukas’s assigned sex, it’s because he’s learned the truth; Fabio is a self-hating, insecure, scared man who pretends to be straight and even lies to his own family, using horrible slurs (ableist, homophobic, etc.) to cover his own vulnerability. It’s clear that, by the end of the film, Lukas no longer feels threatened or cowed by Fabio, once armed with knowledge of where Fabio’s weak-willed nastiness truly comes from. He’s seen Fabio at his most vulnerable, and even met Fabio’s oblivious mother, giving him power within their relationship. When Romeos ends, Lukas is in control. He’s been hurt and disrespected, but he’s in charge of everything that happens to him. Characters such as the man who tried to rape him, and the official who treated him like a freak, are not forgiven. For all of these reasons and more, watching Romeos makes me feel that I'm being seen in all my strength, even though Lukas is put through some heinous stuff. After all, I've been put through heinous things as well. It's not a perfect movie, but I love it. Watching A Good Man just makes me angry. Aude engaging in some needless lesbophobia. Trans and gender-diverse people aren't the only ones insulted in A Good Man . Upon meeting Aude for the first time, Benjamin (pre-transition) tells her that he isn't a lesbian, referencing the fact that he's a closeted trans man attracted to women; a reasonable, necessary distinction to make. Aude, in response, laughs and says "lesbian sounds nasty", going on to insist that she isn't a lesbian either. I didn't like, or even understand, this scene. Why are we putting down lesbians, again? Why is that necessary, just to reinforce that Aude is attracted to men as well as women? There was no need for casual lesbophobia in this film. Being a lesbian isn't nasty. Fuck you, Aude. "In memory of Jacob Hunt." The post-film note at the end of A Good Man. Jacob Hunt, the real-life trans male inspiration for Benjamin, in the biographical film Coby. What's weirdest about this film is that Christian Sonderegger apparently co-wrote it, and the plot is linked to his real-life brother's transition. In fact, Sonderegger directed Coby (2017), documenting his trans brother's journey, during which Jacob considered becoming pregnant. In A Good Man , Benjamin's brother is established as an antagonist, reacting with aggression when Benjamin announces that he will be carrying a child. In this way, Christian Sonderegger has almost cast himself as the villain, as though this is how he might've reacted if Jacob had ultimately chosen to become pregnant. It's very disquieting. Surely, if the film were being made in the memory of Jacob, Sonderegger would've wanted to show his brother's memory some love and compassion. Surely Benjamin's brother could've been loving and supportive at a time when Benjamin's own mother had disowned him. Further, surely Sonderegger could've spared a thought for the trans men who would watch A Good Man , and how much they might adore a fictional depiction of such a brotherly bond. Instead, Benjamin's brother yells at him, furious that his family member is inconveniencing the world by daring to be a pregnant man, making the post-film note all the more upsetting. How would Jacob have felt about brotherly abandonment in A Good Man , I wonder? As a viewer of both A Good Man and Coby , all I can do is theorise about the filmmaking decisions which led to the dramatic martyrdom of Benjamin, and the wholly unpleasant viewing experience of watching him be abandoned and verbally attacked by his brother. Who knows, maybe Marie-Castille Mention-Schaar, producer of A Good Man , is to blame for the worst parts of the movie, and Sonderegger had no input beyond the screenplay they authored together. Regardless, I wouldn't recommend watching it. Just watch Coby . Entry last updated: 8 Feb 2026

Jack (an American trans man) is interviewed alongside his best friend Yaya (an American trans woman) about their childhoods, transitions, and hopes for the future. Jack & Yaya Documentary 2019 United States of America Jack (an American trans man) is interviewed alongside his best friend Yaya (an American trans woman) about their childhoods, transitions, and hopes for the future. Trailer. Official Website. Available Summary: Jack and Yaya met at ages three and two through their shared backyard fence. They spent their childhood together, building forts and burning trash cans in their small hometown in South Jersey. From a young age, Yaya and Jack saw each other as they truly were, a girl and a boy, even though the rest of the world didn’t see them that way. As they grew older, they supported each other as they both came out as transgender. Decades later, Jack and Yaya remain best friends. Jack now lives in Boston with his loyal pup, Plinko, and works as a kindergarten teacher. Yaya lives in her childhood home, waiting tables and trying to make ends meet after her mother’s passing. During his summer vacation, Jack travels back to his childhood home to spend time with Yaya and with his extended family. Jack & Yaya follows these two friends for a year and explores their unique relationship, drawing on home videos and conversations with their eclectic cast of friends and family. - Official website. Entry last updated: 8 Feb 2026

Shervin and Saman, two Iranian trans men, are filmed alongside their families as they try to transition. This Is Not Me Documentary 2022 Iran Shervin and Saman, two Iranian trans men, are filmed alongside their families as they try to transition. Available Information: Iran is the only country in the region to recognise trans people (any other LGBQ+ identity is banned). Both Shervin and Saman offer a glimpse into what life is like for trans youth, who despite loving and supportive parents are forced to live covert lives, shy away from their neighbours and even consider emigration, in order to be who they truly are. One of the many heartrending scenes in this documentary features one of the boys, fully clothed on the beach and yearning to go swimming, while the other shouts at his parents, asking whether his father is also forced to wear a headscarf. This is Not Me is a detailed depiction of the legal and social labyrinth that promises a slim aperture of freedom. - FilmFreeway . What drew me to this issue was the community's ignorance of the transgender community. Many trans people in Iran have fallen victim to traditional thinking and have been murdered or expelled from society. Unfortunately, nearly sixty percent of trans people in Iran have experienced suicide at least once due to major depression. Lack of social security and non-observance of their basic rights in families and society as a human being has created difficult conditions for them in society... My view of the subject and my insistence on narrating the reality of their lives had many difficulties, but the hope and effort for a more comfortable life for [trans people] created a double incentive... Not all the hardships and problems they experience are unbelievable and understandable [in other countries]. One of the things I really felt about making This Is Not Me was that I wanted the film to have a heartfelt narrative... I realized that I could make a film that would explicitly talk about their problems and tell the story of what is going on in the Iranian [trans community]. I wanted to make a film that would allow viewers to feel what is going on in their lives... Describe the extraordinary vitality and commitment that these people have to prove themselves as men, and envision a future for themselves... When the film is over, my hope is that the viewer will leave the hall seeing and experiencing a piece of themselves in each of our subjects. After all, are not their strength, effort, love, and hope respected alongside a loving family?" -Saeed Gholipour (director), FilmFreeway. Note from Jack: I am really, really eager to view this documentary, but I can’t find it anywhere! Entry last updated: 26 Feb 2026

Rudi, a trans man portrayed by himself and four other actors, is shown in childhood, pre-transition adulthood, and post-transition adulthood in this experimental short film. P(l)ain Truth Experimental Film, Short Film 1993 Suomen (Finland) Rudi, a trans man portrayed by himself and four other actors, is shown in childhood, pre-transition adulthood, and post-transition adulthood in this experimental short film. Watch. Available Summary: P(l)ain Truth is a symbolic documentary which tells the story of a transsexual and uses extreme audio-visual means to describe her/his emotions during the different stages of her/his transformation from a biological woman into a biological man. P(l)ain Truth is based on the real case of a person called Rudi. It is a visual record of her/his memories, experiences, and aspirations... P(l)ain Truth lists the complex procedures involved in the transformation from woman to man, which includes several different phases: psychological/psychiatric evaluation, hormonal medication, wearing only masculine clothes and using a masculine name, plastic surgery, breast amputation, penis construction and changing the birth certificate. - Crystal Eye . Jack's Summary: This is a very graphic short film, which may cause many trans men dysphoria. Particularly, viewers should prepare for graphic, bloody footage of childbirth, and footage of a pre-op chest. There are flashing/strobing lights and loud/jarring sound design. There is a lot of non-sexual, artistic nudity. To summarise this film, it is essentially an intense depiction of gender dysphoria and a medical transition, also addressing the role of psychiatry in policing trans gender expression/experiences. Rudi binding his chest. Rudi is shown in childhood, trying to do schoolwork while a teacher raps him over the knuckles in punishment. As an adult, he is then shown presenting femininely prior to top surgery. He takes off his feminine clothing and puts on masculine clothing. When he goes out in public in this masculine attire, however, he is stared at by judgemental people who, it is implied, have noticed the shape of his chest. He returns home, tears off his clothing, and forcefully binds his chest with bandages. The dangers of binding this way are not addressed a post-credits note or some such. The binding is also quite oddly done, with the dysphoria-inducing areas of Rudi's chest not bound nearly as well as the rest of his torso. A censored still from the film. Pre-op Rudi is then shown lying on a bed which is rotating in a black void. The camera zooms in on his groin before zooming out again, showing a post-op Rudi (portrayed by the real Rudi himself) lying on the bed, top surgery scars visible. Rudi is then shown lying in a hospital bed. He sits up, unbuttons his pyjama top, and unwraps bandages from his chest to reveal long-since healed mastectomy scars and a hormonally transitioned body. He then goes to a pool, where he swims nude with other men. The film ends. Psychiatry questionnaire. Another theme tackled in this film is the role of psychiatry in Rudi's transition, decades ago as I write this. Psychiatric questionnaires scroll past above footage of Rudi, one focusing on gender incongruence, the other focusing on overall mental wellbeing. The first asks how Rudi is viewed by others and how he presents himself, with Rudi's notes seeming to question what constitutes a male or female name and male or female clothing, then proceeding to ask what medical interventions Rudi has undergone and what he wishes to explore in future. The second questionnaire asks about physical and psychological wellbeing. Throughout P(l)ain Truth , Rudi is also shown burning childhood photographs, with those photographs projected onto the wall as he lies in his hospital bed. He leaves the photographs behind when he gets up from the hospital bed. In the credits of the film, four actors are listed under the female symbol (♀), including Rudi himself. I'd be curious to know whether Rudi was aware of this or requested it. I wonder the same about the overview of the film, given how Rudi is addressed. Entry last updated: 31 Mar 2026

James Ford, an American trans male fashion designer, competes with other designers in this fashion-focused competitive reality TV show. Next in Fashion (S2) Reality TV 2023 United States of America James Ford, an American trans male fashion designer, competes with other designers in this fashion-focused competitive reality TV show. Trailer. Available Summaries: Gigi Hadid and Tan Frace look for the next big fashion designer, and they bring their expert friends along in the search. -Netflix. James Ford is a Los Angeles-based fashion designer known for his playful, energetic, and genre-mixing style. He was a competitor on Netflix's Next in Fashion in 2023. -Wikipedia. Entry last updated: 8 Feb 2026