You could say that David Cronenberg is something of a Freudian fanboy.
His body of work is frequently dissected by esteemed film critics and scholars using psychoanalytic approaches, particularly with his early career horror films that plunge you into the visceral and the venereal. This is no surprise – after all, psychoanalysis carries a heavy emphasis on images and metaphors relating to sex and the body. However, when considering psychoanalysis from a modern day perspective, it is clear that it has its issues. We currently live in a time where sexuality and gender allow for fluidity, making Freud’s rigid adherence to the male-female binary appear rather stale. For Freud, the “male” is always antecedent to the “female”; as if consulting the story of Eve being born from Adam’s rib, so, too, did Freud view the female as a derivative of the male.
Anahita Ghazvinizadeh is certainly a filmmaker to watch. A student of Abbas Kiarostami, the writer-director already has a Cinéfondation First Prize under her belt, picked up in 2015 with her short film ‘Needle’. Now, Ghazvinizadeh’s debut feature casts a careful eye over the subject of childhood gender-fluidity, the pressure of conformity, and the construction of identity.
J (Rhys Fehrenbacher) is an introspective adolescent who takes hormone blockers to prevent the onset of puberty. This is a temporary measure, we learn in the film’s opening, as J’s medical tests suggest that a decision must be reached soon, lest their health be put at risk. J’s life is at an impasse as they float between childhood and adulthood, unable to progress until they tick a box: B or G.