Jesus, this film sounds asinine. Or maybe that’s just the transfascism talking.
That post quotes the director’s note, and here’s some of the plot summary:
In 1973 a group of hippie women are celebrating Billie Jean King’s victory over Bobby Riggs. They are partying in the rural woods outside of Bloomington, Indiana. Our heroine Sally is a simple minded, sporty type who overindulges at the party and passes out under a tree. Sally wakes up 75 years later in 2048 to discover (amongst other social changes) that feminism has failed utterly and completely. Sex roles and gender expression are rigidly binary and enforced by law and social custom. When Sally rejects the feminine hairdo and short skirt she is given, the doctor at the emergency room calls in the “Gendercator”, a government official who informs Sally that butch women and sissy boys are no longer tolerated – gender variants are allowed to chose their gender, but they must chose one and follow its rigid constraints.
Sally is baffled by this brave new world. All she wants is to “do her own thing” – but her own thing is no more. Sally is a simple-minded stoner, indoctrinated into 70s feminism. She is no poster girl or freedom fighter, just a gentle tomboy dropped into the future with a tendency to respond in slogans such as “sisterhood is powerful”.
Nurse Nancy locates some of Sally’s former friends – they are 100 now, but because of advances in the medical profession (cloning spare parts), they are still healthy and thriving. The friends tell Sally they heard she moved to California and that’s why they never looked for her. One of her friends appears to be a man and tells Sally, “They made me do it. They’ll make you too.” They explain to Sally that in the early 2000s the evangelical Christians took over the government and legislated their strict family values, legally sanctioning only “one man, one woman” couples. Advances in sex reassignment surgery have made it possible to honor an individual’s choice of gender AND government policy. Sally is comfortable in the middle of the genders, an unacceptable choice in 2048.
One of the reasons Hedwig bothers me is that it’s not a film about transitioning or being transsexual. Rather, it is an exploration of related-but-different issues on the part of someone who is not transsexual and doesn’t really share the problems transsexuals face. Precisely for that reason, transsexuality is characterized not as a reality but as a lie, and transition is characterized not as an opportunity but as a trap. Transsexuality is basically used as a device to explore different problems–that exploration necessitates some narrative blurring of the reality of transition, and a great deal of negation of the lived realities of actual transsexuals. It’s a good film, and an important one–and even one that has some valuable things to say about transitioning identities–but these distinctions are also important.
This film is not an exploration of transsexuality. (It certainly isn’t an invitation to dialogue.) Rather, it’s a use of transsexuality as a device to explore one queer, non-conformist, feminist woman’s anxieties about sexist oppression and bodily violation. It has nothing to do with the difficulties transpeople face, either as people who want to transition or as people whose lives are altered by transition. It does not accurately depict their relationship with the medical or psychiatric community–neither the current one nor any historical one–it does not accurately depict their relationship with the government, and it does not accurately depict their relationship with fundamentalist Christians. Its dystopia does not extrapolate from any of those dynamics, even though they certainly aren’t arcadian. There are plenty of opportunities to explore sexism and misogyny in trans lives and in various framings of transsexuality. There are plenty of opportunities to explore the tendency to pathologize difference and medicalize self-determination. There are plenty of opportunities to explore conformity, pressure, and shame. Catherine Crouch is not interested in any of them.