![]() Her life turning conveyor-belt tricks in a fleapit motel looks a lot worse than Sin-Dee’s defiantly freelance existence, and the two women come together in strange moments of mutual understanding as the intersections of their lives are brought to the surface. Dinah is a sleazy type with a bitchy attitude, but if she were ever invited to check her privilege, she’d have trouble finding any. A series of vignettes supplied by his hotchpotch of taxi customers adds some welcome light relief to the narrative thread of Sin-Dee’s intense melodrama, but Karagulian’s sympathetic performance brings home the conflicted yearning of his romantic aspirations with the full force of tragedy.Īs well as the men who are attracted to Sin-Dee and Alexandra, Baker also insists that we consider the plight of the cisgender woman, Dinah ( Mickey O’Hagan), who has taken up with Chester and must now answer to Sin-Dee. Razmik, likewise, begins as a stock character – this time the hardworking but henpecked immigrant – but then becomes far more complex as the film gets under his skin. The popular image of trans women as trashy, tart-with-a-heart loudmouths in impossible heels is a cliché that he can’t dodge and doesn’t try to instead, he allows the context that creates and explains them to gleam around the edges: the precarious poverty that informs their everyday choices, and the emotional vulnerability that makes them a magnet for heartbreak. For her part, Alexandra can think only about her big debut as the singer in a local bar she has invested everything into what she hopes will be a life-changing opportunity, but will Razmik get there in time to show her some support?īy bringing these two disrupted love stories together, Baker teases out unexpected subtleties in a film that mostly majors on broad farce. His own Christmas Eve has brought about a crisis in his marriage as he walks out on the suffocating festive meal prepared by his wife and overbearing mother-in-law ( Luiza Nersisyan and Alla Tumanian respectively) and goes in search of Alexandra. Interwoven with this love-rat revenge plot is another domestic drama: Armenian cab driver Razmik (regular Baker collaborator Karren Karagulian) is a long-term john of Alexandra’s and is, perhaps, in love with her. ![]() ![]() In contrast, Sin-Dee, as played by Rodriguez, is a tornado of rage and emotional venting from the very first scene: having learnt that her pimp and supposed fiancé Chester (talented character actor James Ransone) has been cheating on her with a cisgender woman, she sets off to find them both and bring hellfire raining down on those who dare to disrespect her. Taylor plays Alexandra as the quieter, more cautious of the two, though her sweetness has a flinty edge that becomes more apparent as the plot thickens. The result is so grippingly watchable that the type of camera being used is really neither here nor there.Īs played by Kitana Kiki Rodriguez and Mya Taylor – both appearing for the first time on film – best friends Sin-Dee and Alexandra are both heroic and deeply flawed. ![]() The immediacy of the handheld camerawork – coupled with the actors’ semi-improvised dialogue, which is mostly drawled out in long strings of slang-peppered invective – plunges the viewer straight in at the deep end of their hardscrabble existence, where they eke out a precarious living while battling to maintain some dignity in the face of the ridicule and disgust of mainstream society. ![]() But just as impressive is the quality of the performances, and the sheer big-heartedness of the story, which traces one incident-packed Christmas Eve in the lives of two transgender sex workers. ![]()
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