On the 29th of every month, when the welfare runs out, Catherine talks her alcoholic mother off of the same bridge. Literally. Catherine, a connoisseur of bad decisions, dreams of being ... See full summary »
Amy Jo Johnson
In a suburb of London, young Jamie is escaping sport hours, to avoid being the victim of his comrades. Young Ste, his neighbor, is beaten by his father, and comes to sleep overnight. They discover new feelings, sleeping in the same bed.
In the 1970s, a young trans woman, Patrick "Kitten" Braden, comes of age by leaving her Irish town for London, in part to look for her mother and in part because her gender identity is beyond the town's understanding.
Southern Californian Bree Osbourne, formerly Stanley Chupak, has finally received the news for which she has been waiting: she has been approved for male-to-female sexual reassignment surgery. But before Margaret, her therapist, will allow her to go through with the surgery scheduled in a week's time, Bree has to deal with an unresolved problem from her past. Bree gets a telephone call from a seventeen year old man named Toby Wilkins, who is looking for Stanley, his biological father. Toby is in a New York jail, having been supporting himself by petty crime and hustling. Stanley/Bree knew nothing about Toby before the telephone call. Toby apparently is all alone in the world, with his mother having committed suicide and being estranged from his stepfather in Tennessee. Masquerading as a Christian social worker, Bree, not telling him either of her true identity or her transgender status, bails Toby out of jail and tells him she will take him to Los Angeles, where Toby has aspirations ...Written by
Bree's sister, half Jewish, misuses the Yiddish phrase "kin-ahora" when she hears about Toby's mother's suicide. The phrase means "may the evil eye be averted" and is roughly equivalent to "knock on wood". It is used when you say something GOOD, to avert a spell cast by a jealous person or a demon. It would NEVER be used with respect to something bad. See more »
Dude, there's things about her she's not tellin' you.
Well, every woman has a right to a little mystery, dude.
You know she's a Jesus freak? She's probably waitin' to convert you.
She can convert me any time she wants to.
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For all people of trans experience, For all people of any experience, and For my family. See more »
Felicity Huffman's wry performance is Oscar quality
I first saw Transamerica as the closing film for the Frameline film festival in San Francisco where it won the "The Frameline Audience Award for Best Feature". The film was obviously a labor of love. Duncan Tucker wrote, directed and wisely cast Felicity Huffman as Bree (before she had been cast as a "desperate housewife"). Huffman's husband William Macy was executive producer.
The plot line is certainly the tried and true formula of the transformational road trip, yet the irony of Bree's concurrent sexual transformation freshens a story that could easily have been cliché. Kevin Zegers and the rest of the supporting cast are superb, but Huffman's characterization of Bree is Oscar caliber.
See Transamerica! It's not tragic like "Boys Don't Cry". It's not about sexuality, fetish, or camp. It's a movie about otherness, transformation, family, and ultimately acceptance. Felicity Huffman's Golden Globe winning and Oscar nominated performance is absolutely astounding. Her acting skill fills Bree with insecurity, pathos, warmth, humor, and growth which ultimately transforms the audience's involvement from freak show curiosity to empathy and identification.
Thankfully the Weinstein brothers recognized just how outstandingly strong this performance is and decided that Transamerica would be one of the first films they would choose to distribute after their great success at Miramax.
I saw this movie again during it's limited distribution, again in general distribution and now own the DVD. Each time I've watched it I find even more to like. Transamerica is an indie classic.
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