WATCH THE TRAILER HERE
First, the Recap:
The untarnished acceptance of being who you are. Needless to say, it’s a highly daunting objective to truly embrace all that you are and can be when the choices associated with it still fly in the face of cultural and societal “norms” and misplaced judgement. Therefore, how do you make the decision to stand firmly, face the storms, and come out the other side strongly confident and absolutely content? Meet Sid (Debargo Sanyal) whose transitional journey from “he” to “she” is wholly consuming her life, positives and negatives attached. But, when Sid discovers she has a 14-year old son Ralph (Jamie Mayers) from his-now-her previous love Kirsten (Amber Goldfarb) who thinks it’s the coolest thing in the world to have transgender parent, it spells immediate bliss for Sid, Ralph, and everyone else involved—right?
Next, my Mind:
Indomitable, intelligent, often gut-busting wittiness collides with equally unyielding, resolute dramatic flare all while standing firmly immersed in intended thematic elements and keenly presented objectives thanks to writer/director Eisha Marjara, producer Joe Balass, and executive producer Kevin Tierney‘s 96-minute feature film effort that screened as a beautifully placed exclamation point on the LGTBQIA+ programming for the 2020 ECSA: Escapist Cinema of South Asia online film festival presented by Jingo Media and sister festivals DFW SAFF and NYC SAFF.
Addressing not just its cornerstone premise that hinges on a transitioning women and the pitfalls and pratfalls of her journey, the film takes on so much more including the innocense and naiveté of youth, familial heritage, legacy, and expectations, means of parenting, the highly relevent concept of blended families, conquering misplaced judgments, and the sheer power of striving to be everything you want to be, consequences and obstacles notwithstanding, wrapping it up in a stylishly spirited romp that tackles its transgender basis with gratifying and wholly fulfilling fun along with deeply expressive (perhaps even playfully provocative) predicaments that this critic can truly see would speak to actual realities faced by the transgender community possibly.
It is one of the aspects I so loved about this project in that it treats its subject matter seriously without taking itself seriously to the extent that it becomes unconditionally intriguing, likeable, ultimately joyful, and one hundred percent affecting. It IS life as seen through the eyes of one transitioning woman’s perspective, which as purposed here, grants us a unique look at this particular lifestyle choice but in a way that remains appealing, lovable, and stirring rather than some glaring manifesto to it, which as I have stated in previous reviews about these topics I personally don’t prefer or remotely enjoy. Thankfully here, this was pure genius in design and final delivery.
A similar theme that was addressed in all the 2020 ECSA programming around these specific topics, including this one, is the notion of hiding one’s choice from family primarily, in some form, out of anxieties, straight-up fears of non-acceptance, or at least criticism. Yet, as with the other films that had this facet to them, the narrative here takes that head-on as well, allowing its antagonist to go through every possible rough patch involved while also being forced to learn that confidence in just being YOU is paramount and something to be celebrated, not hidden away. The finale we’re presented here was absolutely awesome, frankly, and very much speaks to the freedom and, perhaps, unexpected affirmation that someone can experience when no longer being elusive about their life.
Sanyal is nothing short of being decisively priceless in his performance as Sid, the transitioning woman who’s had more than her fair share of odd looks, self-criticism, hesitancies, and bravado since choosing her current path. Even as she finally feels like everything is going to be mostly smooth sailing, the most unexpected of interruptions comes about–she has a son from her now-previous life and ex-love. His introduction into her existence brings both hilariously inconvenient situations as well as much needed (even if initially resisted) reality checks to who Sid wishes to be, and watching as this relationship develops is wonderfully heartwarming and moving, with Sanyal so deftly navigating the wonder of deadpan humor and emotionally-charged drama with skill, poise, and engaging soul.
Another marvel is most certainly Mayers in what this critic felt was a tour-de-force performance as Ralph, the 14-year old boy who not only locates his biological father, but finds out he is now she. Finding it to be refreshing, even exceptional, that his direct relation is a transgender, Ralph makes it a point to immerse himself in every way possible into Sid’s world, much to his amusement and her initial annoyance. But, even as Ralph also ends up having to learn hard lessons about the nature of familial relationships and the dangers of hiding truths, his growth and understanding exceeds his age and it is so endearing to see how he treasures Sid and the impact they both end up having on each other. Mayers is truly believable and great fun in his performance, a real rising talent to watch.
Primary supporting roles come about through Pierre-Yves Cardinal as Sid’s boyfriend Daniel, who has to has to reconcile his own notions about Sid while trying to mend the ongoing relationship he wants with her, Amber Goldfarb as Ralph’s biological mother Kirsten who’s own path to finding out about all that’s going on is both tumultuous and healing, and the magnificently entertaining Zena Darawalla and Gordon Warnecke as Sid’s parents who are of decidedly different demenors about their now former son’s lifestyle choice until a certain 14-year old factor sways both their hearts. Additional appearances are made by Peter Miller as Kirsten’s new man/Ralph’s stepfather Max, Judy Virago as one of Sid’s most trusted friends to lean on Sylvia, and Matt Keyes as Daniel’s brother Alex.
In total, with its wealth of morals and life lessons worn squarely and confidently on its sleeve, “Venus” is truly an absolute must-see film that, I feel, takes the apprehensions totally away from anyone who might be dubious or tentative about a narrative focused on the transgender theme. Instead, find this as a way to break free from suppositions and pre-conceived ideas and let yourself be swept away in positive, unimpeachable entertainment, laughter, and heartfelt drama that is born from an artist’s heart and intent to present a human story as, sometimes, only film can provide.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
