Katoey meets three people in rural Thailand who are clearly and confidently women even though their bodies are male. Integrated to an impressive degree into society, these women have successfully overcome the difference between their physical and mental genders.

In this intimate portrait addressed directly to Hélène Hazera, filmmaker Judith Abitbol revisits a key figure of France’s countercultures from the late 1960s to the 1990s. A member of the Gazolines and the FHAR (Homosexual Front for Revolutionary Action), Hazera was a tireless LGBTQ activist who founded Act Up’s Trans and AIDS commissions—one of her proudest achievements. Her true victory, however, was becoming the first transgender journalist at a major national newspaper (Libération), and later a producer at Radio France and France TV. Through her story, Abitbol reconnects with the insurrectionary spirit and creative chaos of those decades—an era when French culture was shaken by radical imagination, humor, and defiance. The film celebrates these modern Antigones who dared to live their desires beyond the reach of any law.

Myron Breckinridge flies to Europe to get a sex-change operation and is transformed into the beautiful Myra. She travels to Hollywood, meets up with her rich Uncle Buck and, claiming to be Myron's widow, demands money. Instead, Buck gives Myra a job in his acting school. There, Myra meets aspiring actor Rusty and his girlfriend, Mary Ann. With Myra as catalyst, the trio begin to outrageously expand their sexual horizons.

In the midst of a marital crisis, Fikret befriends the singer Solmaz and has to step in as a father figure for her daughter, who is about to get married.

By approaching the process of sexual reassignment, the work mixes data and experiences, focusing on family relationships and the nuances of the feminine.

A young trans woman is chased into a junkyard while being followed home late at night. Trapped among the heaps of scrap, she must outwit her predator and summon the strength of a goddess in her desperate fight for survival.

The Alexander Ball is an observational documentary extravaganza celebrating Samoan-Māori-Australian trans woman of colour, Ella Ganza, and the Meanjin (Brisbane) ballroom scene, as she and her ballroom family prepare for one of the biggest pride events of the year: The Alexander Ball.

This short film offers an as yet unseen insight into the every day transgender experience, and will hopefully promote much needed acceptance and understanding.'

Ludruk Tobong artists are trying to maintain the arts that support their livelihood and are also trying to eliminate the negative stigma of trans women through cultural media.

Does the mirror reflect reality or is it a window into the fears of the observer? After just another day, when bullying becomes too much, what can Alice do? What defines her as a freak?

Over the course of 10 months, a camera travels to Buenos Aires, Argentina and Hanover, Germany to meet with Magalí, María Belén, Ivana and Carla, the founding members of the Archivo De La Memoria Trans Argentina, the first existing Trans Archive in the world. Taking the shape of a photo-novel, the documentary not only recounts the founding members lives as trans women under the Argentine dictatorship (1976-1983), the AIDS epidemy, state repression and mass assassinations but also years of fighting for their rights, sorority and the exaltation of life and laughter in times of death. Filming each one of them is filming them embracing their new role as curators, archivists and historians while a collection of 7,000 photos goes through the filter of their memories.

Two young women form a romantic bond after discovering they have supernatural powers. Their insecurities unknowingly release a demon, which possesses one of their exes and begins feeding on their friends. As the bodies pile up, it becomes up to the women to face their pasts and stop the growing evil.