PUBLISHED April 8th, 2022 05:00 am | UPDATED July 25th, 2024 02:30 pm
Rén Yāo (人妖), loosely translated to ‘human monster’, is a term often used to describe transgender people in Mandarin. Much like its painful connotation, the term holds the weight of the depiction of trans people in the Asian community – alienated and perhaps to some even scary. In a modern-but-conservative Singapore, the queer and transgender communities may be visible in theory, but still fall to the blind side of the political, social and economical systems that govern us.
In Some Women, an autobiographical love letter to the trans community – and perhaps herself – local filmmaker Quen Wong brings a refreshing look into the life of trans women in Singapore. Supported by a series of home videos, follow the filmmaker through an endearing, evocative and raw storytelling which sheds a light into her journey as a transgender woman and confronts the hardships and stigma that it shadows.
“When I was 20, I fell for a boy. He said I reminded him of a girl. But you’re not a girl, he said. And I felt ashamed for thinking I was a girl.” The debut feature documentary by Wong begins with her questioning her identity and the resurfacing of internalised issues and embarrassment despite being a transgender women for 25 years. Now 46-years-old and on the cusp of marriage, the filmmaker asks herself “can I truly feel at home where I’m not wanted?”
But, the passage to self-acceptance, a sense of belonging and self-determination first begins from within. Bringing meaning to those words, Wong can be seen standing in front of her packed storeroom/ bomb-shelter, this time bringing out her pre-surgery self, which she metaphorically and literally buried in the closet. Having dust off the cobwebs, the protagonist is brought face-to-face with the person she used to be before. The revelation of the images also brings forward difficult but nonetheless heart-warming conversations as Wong showcases them to her family.
Contrary to her previous mention of partners in her life, Wong is met with a bitter-sweet answer when she asks her now husband, Francis Bond, if he would still be dating her if she hadn’t transitioned. “No,” he said in brutal honesty. “I am attracted to women, and I have always seen you as a woman.” Throughout the film, the intimate relationship between Bond and Wong is shown in its truest form – with full-acceptance, playfulness and packed with love.
Though one particular relationship that left our hearts overwhelmed and our eyes filled with tears, was the nurturing and loving relationship between Wong and her parents. Particularly highlighting the important role of her supportive mother who first accepted her daughter’s identity and treated her indifferently. The director also reaches a breakthrough with her conservative father who now recognises that the transition had allowed his daughter to feel a sense of belonging and freedom.
Apart from her own story, the writer-director also connects with two other generations of trans women – Anita (also called Sanisa) and Lune Loh. One highlight not to missed is the archival images and the forgotten history of Singapore’s Bugis Street, which used to be the lively home of the trans community in the early ‘50 – ‘80s, shared by Anita. Whilst moments with trans activist Lune Loh uncover the institutional erasure of the queer community from mainstream media, school sex education programs and other governmental systems that only perceive its citizens through the M or F marked on their official documents.
Hinting to the aforementioned term Rén Yāo (人妖), towards the end of the film, Wong ditches the concept of gender dysmorphia, and instead adopts it counterpart, gender euphoria, leaving her audience with her favourite quote from Susan Stryker – “Like that creature, I assert my worth as a monster in spite of the conditions my monstrosity requires me to face, and redefine a life worth living”.
Some Women is playing at Golden Village cinemas and The Projector. See websites for showtimes.
All photos courtesy of Some Women Documentary.