Siobhan McCarthy’s She’s the He, screening at BFI London Film Festival, may embrace the classic high school comedy. Still it proudly beats its own drum, as McCarthy explores social constructs and takes aim at the fearmongering trans young people are subject to in our screwed-up world.
Siobhan McCarthy’s proudly queer, colourful, energetic and vibrant directorial debut premiered at SXSW, before arriving at this year’s BFI London Film Festival. It premieres at a time when rainbow sidewalks are being torn up in several US cities as Trump and his cronies further eradicate LGB and, in particular, T history. This social and political backdrop makes She’s the He’s voice even more urgent and essential for young people. McCarthy’s high school comedy, led by trans actors and filmmakers, proudly and defiantly shouts, “We’re here, and we ain’t going nowhere!”
Taking its cues from Booksmart, Bottoms and Shakespeare’s Twelfth Night in its play on gender roles, She’s the He introduces us to longtime friends Alex (Nico Carney) and Ethan (Misha Osherovich), who, in classic high school comedy style, are considered losers and regularly subject to rumours that they’re a gay couple. So, wanting popularity and sex, the high-spirited and endearing Alex concocts a plan to improve their reputation: they will both come out as trans and finally find acceptance with the popular girls at school. But Alex’s plan hits an unexpected hurdle when Ethan announces that they think they are trans, in this colourful and delightful coming-of-age comedy.
Siobhan McCarthy’s film may embrace the classic high school comedy, but it proudly beats its own drum, as McCarthy explores social constructs and takes aim at the fearmongering trans young people are subject to in our screwed-up world. In McCarthy’s energetic world, fluidity, acceptance, and diversity are the norm among our hormonal high schoolers. Yet, while McCarthy and a fabulous ensemble led by the brilliant Carney and Osherovich take square aim at those seeking to destroy trans history, representation and identity, some areas of the screenplay feel under-explored in this fast-paced comedy. There’s a lack of breathing space throughout, and while this keeps things fast, energetic and anarchic, it also stifles moments of character development that could have enabled She’s the He to reach its full potential.
However, this weakness is forgivable when considering the importance of She’s the He for young trans, non binary and queer teens in a world where they are being forced into the shadows by right-wing politicians and their febrile and often hateful followers. I can only hope those teens get to watch McCarthy’s film, and it isn’t a festival movie that goes no further.
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