7 Independent Trans Filmmakers You Ought To Know

Trailblazers in their communities through creating media from authentic Trans and QTPOC perspectives and expressing their visions for all to see through their artistic work - Ewan Duarte

Seyi Adebanjo
Seyi Adebanjo

I intended to curate and write an article about a diverse selection of Independent Trans Filmmakers who are making wonderful and impactful work for a wider audience to discover. As well as curating and writing this piece, I’m also including myself and my film/media work in it—since I’m an Independent Trans Filmmaker. I hope you enjoy the diverse selection of Independent Trans Filmmakers below who are trailblazers in their communities through creating media from authentic Trans and QTPOC perspectives and expressing their visions for all to see through their artistic work. It is increasingly vital for Trans and QTPOC filmmakers to be the ones to tell their own stories and experiences through media from their perspectives. Read on to learn more about these seven Independent Trans Filmmakers who are making waves; Seyi Adebanjo, Ashley Altadonna, Shaan Dasani, Mikki del Monico, Ewan Duarte, Sam Feder, and Sydney Freeland!

Here’s 7 Independent Filmmakers You Ought To Know by Ewan Duarte


Seyi Adebanjo
Seyi Adebanjo

Seyi Adebanjo is a Queer gender-non-conforming Nigerian MFA artist.  Seyi is a media artist who raises awareness around social issues through digital video, multimedia photography and writings. Seyi’s work is the intersection of art, media, imagination, ritual and politics. Seyi has been an artist in resident with Allgo and is exhibiting at the Longwood Art Gallery and previously at the Skylight Gallery -Restoration Plaza Corporation, Bronx Academy of Arts & Dance (BAAD!), MCNY, the Leslie-Lohman Museum of Gay and Lesbian Art & Waterloo Arts Gallery.  Seyi is currently a fellow with AIM at the Bronx Museum and has been a fellow with The Laundromat Project, Queer/Art/Mentorship, Maysles Institute, IFP and City Lore Documentary Institute. Seyi’s powerful short Trans Lives Matter! Justice for Islan Nettles has screened on PBS Channel 13, Brooklyn Museum and continues to screen globally.  Seyi’s current documentary Ọya: Something Happened On The Way To West Africa! is the recipient of the Best Documentary Short- Drama Baltimore International Black Film Festival.  The documentary is screening globally and on a speaking tour.

1. Tell me about your most recent film, Oya. What inspired you to make this film?

“I am from this place but not of it. I am of this place but not from it.” I am a Queer Gender-Non-Conforming Nigerian who returns home to speak directly with my ancestors, connect with Òrìṣà (African God/dess) tradition, and follow a trail back to the powerful legacy of my great grandmother, Chief Moloran Ìyá Ọlọ́ya. This documentary vibrantly investigates the heritage of command, mythology, gender fluidity, womyn’s power in indigenous Yorùbá spirituality. During this personal and political story my journey is to locate the gender fluidity that is an important part of the Yorùbá inheritance (for myself and others.) Gender dynamism supports a traditional legacy of power. As I encounter obstacles of a national strike and anti-gay marriage legislation to find the roots of the practice, will I be able to find affirmation for myself as a person between genders/ worlds and take on this inheritance?

Seeing limiting or no representation of Queer Gender Fluid immigrants, spiritualist, and People of African Descent I knew it was important to strengthen a new story and affirm the identities of people who cross the border of gender/spirit/sexuality. I wanted to tell a tale not often heard about gender and Indigenous Yorùbá Spirituality. With all the post-colonial criminalization laws passed in Nigeria, Uganda, Russia, Ukraine & 75 other nations globally, Queers/Trans/ Gender Non Conforming people are receiving decades and/or life imprisonment. People have been arrested and killed.   Actively showcasing Queer Trans/Gender Non Conforming People Of Color is imperative and urgent because if people continue to think the divine doesn’t love them, how will people get strength to fight, love, live, worship and get out of bed every morning?  For any of us to do this work on an individual, community, and institutional level we need to know we matter and see ourselves reflected.

2. What did you learn the most from working on Oya? 

What I learned the most from working on Ọya: Something Happened On The Way To West Africa! is to trust myself.  Filmmaking is a very subject field and process where everyone has an opinion on your work and what type of film they would like to see.  During the challenges which come with the production and post-production of a film I was inundated with solicited and unsolicited opinions and theories.  I relearned people will give you their opinion from their worldview. Most of the worldview I received was from the lens of white supremacy and patriarchy.  Through this white gaze, people wanted a poverty porn film about Nigeria, the oppression of womyn, trans folks, queers, female genital mutilation, hardships of my family, a first person narrative about my life, etc; all films which I was not making nor wanted to make. Institutional oppression and other factors make it imperative for me to frame the dialogue when it comes to Queer & Trans* People of Color, especially immigrants.  Representation matters.  Seeing myself and my community visualized is significant and I want to do it with humanity, dignity and power.

Learning to have a small team to view cuts and bounce ideas off were important.  This team had political sensibilities, theory, techniques, practice as artist/ educators. Im grateful to the spirits, people, filmmakers and community members and family who became that core to anchor my process.  The most important lesson, was trusting my own voice/vision.  I recommend to people creating films to have a core team to support you in this endeavor, be as clear as possible in your vision when articulating it to yourself and others.  The people who need to support you will come on board because of the trust and confidence you have about the project.

3. What’s next? 

A short Afro-Surrealism, Docu-narrative film, I will experiment with ritual, the erotic and gender expression through spirituality and mythology. I will transform and re-appropriate mythology and desire for Queer Trans/ Gender Non Conforming People Of Color ritualistically into images of our own creation. Re-imaging the erotic will give strength to a new story and people who cross the border of gender/spirit/sexuality.

4. Can you tell me about your identity and how that is interwoven in your filmmaking process?

I am a media artist who raises awareness around social issues through multi-media photography, digital video and writings.  I thus incorporate media activism with my passion for social justice and community building.  My work is the intersection of art, media, imagination, ritual and politics. My work is lyrical, engaging people in trans-formative, political and spiritual dialogues.  My art communicates with a distinct voice on many themes: gender fluidity, Queerness, spirituality, “Womyn” of Color, transgender People of Color, and white supremacy.


Ashley Altadonna
Ashley Altadonna

Ashley Altadonna (b. 1979 Houston, TX) is a transsexual filmmaker living in Milwaukee, WI.  Her films have been screened in numerous festivals from London, Berlin and Melbourne to New York, Seattle and San Francisco. She graduated from the University of Wisconsin-Milwaukee film department with a Bachelors of Fine Arts in 2004.

In addition to film, Ashley Altadonna is also a health and sexuality educator at the Tool Shed Erotic Boutique, a national award-winning sex toy store. She has been educating people on transgender issues for over 6 years. She is also contributor to several local online magazines as well as being featured in Morty Diamond’s anthology “Trans/Love: Radical Sex, Love & Relationships Beyond the Gender Binary”.

In her free time, Ashley is also guitarist and singer for Milwaukee indie rock band, The Glacial Speed. She has been writing music and making feedback since 1992.

1. Tell me about Tall Lady Pictures? What inspires you to create films? 

I started Tall Lady Pictures in 2008 after making my two films, Whatever Suits You and Playing With Gender.  They were getting into lots of festivals and I was dealing with distributors while at the same time I was starting to do more freelance commercial video production and editing.  The whole process needed to be a little more legitimate. I created an LLC and launched tallladypictures.com, where people can find my work and I also blog about trans issues.

I’m most inspired by so many sources. I love all types of films from Hollywood classics, to art house & foreign cinema and B-movies. My background is in experimental film.  I went to School of the Art Institute of Chicago before transferring to the film program at University of Wisconsin – Milwaukee.

2. What creative project(s) are you currently working on? 

For the past several years I’ve been working on my first feature film, “Making the Cut”. The film follows my attempts at fundraising for my gender confirmation surgery while looking at the status of trans health care in America and why certain procedures for transgender folks have often been deemed “elective” or “cosmetic”. The film is also my first foray into documentary filmmaking.

3. What is one lesson that you learned from working on your last film? 

I’ve learned so much working on “Making the Cut” like constructing a narrative within a documentary, interviewing subjects, and raising the funds for a project of this size. I created and ran a successful Kickstarter campaign, which was an ordeal in itself.  Being the subject as well as the director of the film has also taught me about letting go of some of the aspects of production and trusting my crew to help me achieve my vision.

4. How is your identity as a trans woman interwoven in your filmmaking process? 

When I was first beginning to transition, a friend asked me if I wanted to be known as a filmmaker or a transgender filmmaker. Because my career in film coincided with the beginning of my transition, the two are irrevocably entwined.  I’m proud to be known as a transgender woman filmmaker. Unfortunately, we live in a time where filmmaking is still seen as a male dominated profession. Women filmmakers, especially those that are POC or queer, are still grossly underrepresented. Hopefully my experiences as a trans woman can offer a different perspective or inspire other folks similar to myself.



Shaan Dasani
Shaan Dasani

Shaan Dasani is an award winning filmmaker and actor.  A graduate of Chapman University’s MFA program as well as alumni of Film Independent’s Project: Involve, Shaan has directed over 30 short films, commercials, dance and music videos.  After making a major personal life transition, Shaan decided to pursue his lifelong dream of acting.  His breakout theater role came in the Blank Theater’s production of ‘The Not Lesbians’, portraying Ollie, a newly transitioned transgender student who is meeting his ex-girlfriend for the first time after transition.  He went onto book TeAda Productions ensemble piece ‘Global Taxi Driver,’ as well as Queer Classic’s version of Shakespeare’s “The Taming of the Shrew.” Shaan recently starred in the first web commercial for Google Goals, and can be seen on stage in the upcoming play ‘Porno Dido’, this summer as a part of the 2016 Hollywood Fringe Festival.

Shaan often speaks in classrooms about his experience transitioning with the hope of sharing his gratitude for his own life journey with others.  For more information, please visit ShaanDasani.com

1. Tell me about Karma Theory films. What inspires you to create films? 

I was always fascinated by the concept of “karma”, a Sanskrit word that means “action, effect, or fate.”  The karma theory revolves around the idea that every action creates an equal and opposite reaction.  I wanted to be reminded of that in my work, so I started a small independent production company called Karma Theory Films.  We do all kinds of projects – commercials, short films, music videos, made for web projects, and eventually feature films.

2. What are you currently working on? 

As I was beginning the physical process of transitioning, I started pursuing more roles as an actor, which is something I’ve always wanted to do since I was a kid.  So the past few years has been about acting, mostly theater, but also commercials and some hosting work as well.  But I like creating my own projects too, so from a production standpoint,  I’m working on a digital reality series as well as narrative feature film.

3. What is one lesson that you learned from working on your last film project? 

I recently did a short 8 minute film for a web festival.  It was shot with my cell phone and with the camera on my laptop.  No fancy resources, I happen to have Final Cut 7 on my computer so I used that to edit, and then found a stock music website online with tons of free music that I could legally use for the film.   The lesson…a lot can be done with a little.  It’s not about having the best resources, it’s about making the best project you can with the resources you have.

4. How is your identity as a trans man interwoven in your filmmaking process? 

I wasn’t going deep enough in my projects prior to understanding my own trans identity. I could feel myself holding back, playing it safe.    That came from a lifetime of playing it safe in my real life.  I always had carried myself as “tomboy”, but there was some part of me that was wanting to assimilate into this role of daughter/sister/niece/girl even though I didn’t feel like that.  I didn’t want to stick out, I wanted to blend in.  Even being a South Asian person who grew up in the American south – I wanted to feel like I was like everyone else.  And so while I’m very proud of my work, I now feel like something has been lifted, I’m not hiding anymore.  The thing is, they say transition is a process, and that’s true.  It’s not like, now that I’ve transitioned all my work will be deep and meaningful and inspiring.  It’s that a huge step was taken in my real life to not hide, and it encourages me to keep finding places of fear in my work and push past those places for a more authentic experience in the art, whether that’s acting or filmmaking.

5. Is there anything else that you would like to share about your process as a trans filmmaker? 

Transitioning, for me, has been a positive experience overall, but I know being a transman is not my only identity.  Not all projects I do have to be about transition and not all characters I play have to be transmen.  But the value in having this experience within myself, hopefully, will help me to create more honest stories and characters, so that the audience, whatever their own personal experiences, can relate.



Mikki Del Monico
Mikki Del Monico

Mikki del Monico wants to help create a world in which art is as important as commerce and gender is just another dimension of self-expression.  As a lifelong storyteller with deep Italian-American roots, he’s tackled the jobs of writer, film and music video director, editor, personal trainer, and digital media assistant on a ship that sailed the Atlantic Ocean. You can currently find his writing in The Huffington Post Queer Voices.  Mikki transitioned female-to-male while making his “audience favorite” feature film debut, Alto, for which he received Best First-Time Director at Downtown Film Festival Los Angeles.  Alto is distributed by Cinema Libre and available on Amazon, iTunes, and other VoD platforms.  Recipient of both an Alfred P. Sloan Screenwriting Award and Feature Film Production Grant, Mikki has also directed and edited music videos for the all-female alt-rock band, Antigone Rising.  The most recent, “Borrowed Time,” recently screened at the inaugural OUT Web Fest and will soon be available on REVRY (http://watch.revry.tv/).

For more info: www.mikkidel.com and www.altothemovie.com

1. Tell me about your film Alto. What inspired you to create this film? 

Alto was always intentionally a movie to make people laugh and through humor, help heal the wounds that separate us, particularly from those we love.  My use of the Mafia was as intentional as the use of comedy.  I wanted to acknowledge that something besides the criminal element has cemented its place in the American psyche: the idea that in a culture that venerates the individual, there is a way to celebrate family and find a secure place within it—a sense of belonging—while still leaving the question mark of uniqueness enough room to materialize.  I also know what it’s like to step outside the everyday world and play by my own set of rules.  A lot of my work is about family.  I doubt I’ve written anything that doesn’t have at least one family in it.  With Alto, I was also inspired by friends who are musicians.

2. What did you learn the most from working on Alto

The path to making this film involved my coming out to my family as transgender.  I was fortunate that when I leapt, they opened their arms.  In the end, I wanted to make a film that would break through the differences between people and encourage authentic lives.  When I considered what I’d written—a character whose planned life disintegrates when she questions what she’ll do to stay true to herself—it felt impossible to explore that story as a director without letting it push me into the world in a big way.  Through making the film, I found a voice willing to expand beyond my comfort zone. I was writing myself into exposure.

3. What are you working on now?

Currently, I’m working to turn Alto the movie into Alto the musical.  I’m also working on a variety of feature scripts as well as short-form storytelling and VR360.

4. How is your identity as a trans man interwoven in your filmmaking process?

For me, there’s no way to make a film without infusing some part of myself in the work.  If I don’t, I’m shortchanging the impact it might have on others.  Making and promoting a film is hard work. Doing that as a transgender person may have made it more difficult in some ways, but the ability to direct both men and women from an insider perspective isn’t one of them.  My trans identity often takes a back seat to a lot of other facets of myself, even as it frames a very specific window through which I see the world.  When I decided to become a filmmaker, I was actually saying, yes, I can handle rejection, disappointment, criticism, and nay-sayers, and I can do so in a way that bring something valuable to the world.  I was saying the same thing when I came out as transgender.  The path to accepting myself was a creative one as well.  As much as this journey has shaped the man I am, I never want it to be the most interesting thing about me.

5. Is there anything else that you would like to share about your process as a trans filmmaker?

The talent in the trans male community far exceeds the opportunities for paying jobs as filmmakers.  This “moment in the media” has done very little to change the lack of trans male representation either in front of or behind the camera.  It is therefore up to us to use our creativity not only in making work but in finding ways to share it with the larger community.



Ewan Duarte
Ewan Duarte

Ewan Duarte is a professional writer, artist, educator, and award-winning independent filmmaker. Ewan holds his MFA in Cinema from San Francisco State University. His prior films Spiral Transition (2010) and Change Over Time (2013) have won awards and screened in more than 140 film festivals worldwide such as Frameline, BFI London LGBT Film Festival, DC Shorts Film Festival, Rhode Island International Film Festival, Oslo LGBT Film Festival, Melbourne Queer Film Festival, Gender DocuFilm Festival in Rome, Hamburg International Queer Film Festival, Polari Film Festival in Austin, TX, and many more! Ewan’s current film is titled: Queering Yoga. His articles have been published in LILIPOH Magazine, Original Plumbing Magazine, IndieWIRE, The Huffington Post, Manifest: Transitional Wisdom On Male Privilege, and Chelsea Station. You can check out his website here: www.ewanduarteproductions.com

1. Tell me about your previous film, Change Over Time? What inspired you to create it?

Change Over Time is an animated, experimental, personal documentary about my first year on testosterone from an impressionistic and poetic perspective. Change Over Time has screened in more than 65 film festivals nationally and worldwide. The film won a “Fruitie” award at The Fresh Fruit Festival in NYC.

I was inspired to create a film about my inner life and soul experiences during my first year on “T.”  Most of the trans films I’ve seen focus only on external physical changes during one’s transition and interpersonal connections. While I also do incorporate the latter it is interwoven with my inner life and soul changes during my first year on “T.” It’s also important for me to create “conscious media” and to tell my own stories.

Change Over Time can be viewed here: https://vimeo.com/66785175

2. What did you learn the most from working on Change Over Time?

I learned many lessons and grew a lot as a filmmaker working on Change Over Time. One of my biggest lessons that I learned is that how I create is process oriented. There is a time to push and really work on a project and there is a time to simply be. If you plant a seed in the Earth, a lot of invisible growth happens underground before a visible sprout emerges. There is a time to work, to rest, to be, to compost. In those times of rest and being, a lot is happening—in that stillness. Another way to express how I create is that it is aligned with the cycles of the natural world. During the Autumn is a time of letting go—of compost. During the Winter, a time of rest. The Spring, a time of rebirth. The Summer, a time of abundance and joy. There are periods of time when I’m actively working very hard on a project. Other moments, I need to take a pause. I create at a sustainable and intuitive pace. That is my approach to my creative work.

3. What’s next? 

I’m actively working on my current film, Queering Yoga. Queering Yoga is a documentary about stories of personal transformation and healing through yoga in the Queer, Trans, and QTPOC communities. From the perspective of QTPOC, Queer, and/or Trans yoga teachers. The documentary focuses on the intersection of LGBTQ identities and yoga through “decolonizing” the yoga practice.

Queering Yoga focuses on themes of healing, self-acceptance, personal growth, inclusion, access, community, safe space, empowerment, and integration.

You can check out Queering Yoga’s website here: http://queeringyoga.com

You can learn more about Queering Yoga and how to support this important documentary coming to life here:


4. Can you tell me about your identity and how that is interwoven in your filmmaking process?

I identify as a Trans man (FTM). My identity and my experiences that are aligned to being a Trans man impact all of my creative work. I feel it’s important for people to write and create what they know and experience, first hand. I write and make films about Trans themes and experiences from an empowered perspective. I feel that it’s important for authenticity’s sake that Trans filmmakers and writers create Trans films, articles, screenplays, and books. Trans artists are here and it’s time that we rise up and tell our own stories.

5. Is there anything else that you would like to share about your process as a Trans filmmaker? 

It’s vital for Trans artists and filmmakers to be the one’s telling our own stories from our perspectives! There is so much Trans talent behind and in front of the camera. It’s time for cisgender folks, including cisgender queer folks to take a step back and let Trans people tell their own stories and create engaging, empowering, and important media and creative work! I would love to see more opportunities of financial support for the films that I’m making and will continue to make. As well as for the entire community of Trans artists and filmmakers.



Sam Feder
Sam Feder

Sam Feder is NY/LA based filmmaker exploring the power dynamics and politics of media-driven identity. Sam’s third feature film, Kate Bornstein is a Queer & Pleasant Danger, premiered at the British Film Institute and was named one of the best LGBT documentaries of 2014. Sam is in pre-production on a historical documentary that examines the depiction of transgender people that permeate popular culture and the attitudes behind them throughout the history of North American media. Boy I Am, Sam’s first feature, is now streaming on Kanopy. Since 2007, Sam has been touring internationally hosting screenings and discussions with their work at film festivals, universities and colleges, museums, and libraries. Sam has received national grants, fellowships and residencies from: The Jerome Foundation Grant,  Frameline Completion Fund, Crossroads Foundation, Funding Exchange, Astraea Foundation for Social Justice, Illinois Arts Council Grant, and the John D. and Catherine T. MacArthur Foundation. Sam was an ongoing fellow at the Ellen Stone Belic Institute for the Study of Gender in the Arts and Media, a Yaddo Artist Resident, and a MacDowell Colony Fellow.

1. Tell me about your previous film, Kate Bornstein is a Queer & Pleasant Danger?

It was a hard film to make. A lot of people assumed it would be a conventional, chronological, bio-pic – highlighting her gender theory. I wanted people to experience who she is not rather than what she has done. Rather, to feel and witness an intimacy with someone who’s influenced their personal growth. Meanwhile, by seeing potentially offensive sides of her, the viewer wrestles to hold all of those truths. There is so much to explore with Kate – gender, sexuality, SM, performance, writing, public vs private, mental illness, suicide, Scientology, loss of family, creation of queer family. While touching on all of that, the film reflects Kate’s idiosyncratic, brilliant and rebellious nature. The film premiered at the BFI in London in 2014  and screened in over 80 festivals, universities and museums since then. The DVD is available for institutional sales through the film website and it’s streaming on Kanopy.


2. What are you currently working on?
I have a few things brewing! A short fiction film Baggage that I will shoot later this year. It’s about the expectations, tests and limitations of queer friendship – what we do in order to not be alone in a world that often leaves us in a dearth of emotional support. It’s about sex, violence, loyalty and art. I’m in development on a feature documentary on the history of trans people in film and tv. There isn’t a comprehensive book on the topic. I’ve been traveling the US doing research interviews with trans people who’ve been on one side of the camera or another –discussing their work and memories of trans/gender non-conforming people in the media. These interviews will become the primary document to base the film on.

3.What inspired you to create a project about the history of Trans people and how they are represented in the media?
A confluence of events  transpired to get me working!  I’m a huge fan of the Celluloid Closet, Ethnic Notions, and Color Adjustment. For years I’ve wanted to see a documentary like those focused on trans people – but, I didn’t have the resources. The emergence of trans people in the mainstream since 2014 raised a lot of questions about social justice and visibility. Putting that question into a historical context is what I am interested in doing.

4. Can you tell me about your identity and how that is interwoven in your filmmaking process?
There’s an 11 year old named Marley Dias who just completed a quest to collect and donate 1000 books with a black girl as the main character. When asked why she felt compelled to do that she said, “You can’t be what you can’t see.” That pretty much sums it up.

5. Is there anything else that you would like to share about your process as a trans filmmaker? 

Ha! It’s super hard and extremely rewarding and meaningful. I’d like to see more outreach, funding and support for trans artists. When younger people ask for advice I tend to pass on what my mentors tell me – make work every day, only do what you are passionate about, build community with your peers (help each other!) – don’t fall victim to fears of scarcity. And be kind.


Sydney Freeland
Sydney Freeland


Sydney Freeland is an independent filmmaker. Her debut feature film, Drunktown’s Finest, premiered at the 2014 Sundance Film Festival and went on to win a number of awards, including the Grand Jury Prize and HBO Outstanding First Feature awards at LA Outfest 2014. The film was also nominated for a GLAAD Media Award for Outstanding Feature. Sydney is also a recipient of the following awards: 2015 Fox Global Director’s Initiative, 2015 Sundance Women’s Fellowship, 2015 Ford Fellowship, 2014 Time Warner Fellowship, 2010 Sundance Screenwriting and Directing Labs, 2009 Sundance Native Lab, and a 2004 Fulbright Scholarship. Sydney currently lives and works in Los Angeles.

1. Tell me about your previous film Drunktown’s Finest? What inspired you to create this film? 

On a really basic level, I just wanted to tell a story about the people and places that I knew growing up. I was born and raised on the Navajo reservation in New Mexico and I never felt like I saw the people I knew portrayed on film.

2. What are you currently working on?

I’m currently in preparation on a feature film about teenage train robbers called Deidra and Laney Rob A Train. It’s a dark comedy in the same vein as Raising Arizona.

3. How do you feel being the Director of Her Story

Her Story was a great experience. I remember reading the script and thinking “Wow, I didn’t even know I wanted this.” I really liked that it was a story about Trans women, but it wasn’t about transition. It’s been over 10 years since I transitioned and I felt like I could relate to Jen and Laura’s script on personal level.

4. What have you learned the most from working on Her Story?

Her Story was the first project that I just directed, but did not write. It was a new experience but I think it prepared me well for my current film, which I also did not write but am just directing.

5. Is there anything else that you would like to share about your process as a Trans filmmaker? 

I would say it was tough early on because I didn’t feel like I had a frame of reference for what I was aiming for. However, there has been this monumental shift in the past couple years with shows like Transparent and people like Laverne Cox and Caitlyn Jenner becoming household names. I hope that this opens the doors to more Trans filmmakers/actors/artists in the future.

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