Chester (Sin-Dee’s cheating fiance) and Razmik become mirrors for each other’s facades. The duality of their characters is a remarkable foil for the openness and integrity of the two protagonists. It is a true to life portrayal of how the patriarchy lives on today. The stirring climax of ‘Tangerine’ confronts adultery and shows us a typical scenario when a man is prompted to take accountability but chooses the method of gaslighting who he has hurt instead. Especially in the case of Razmik’s character whose sexuality and affairs with trans sex workers is hidden from his family. LA’s plastic, fast paced reputation highlights how false realities can fester. Ambulance lights and sirens frequently distract the audience from focussing on the Christmas-y atmosphere and instead make the whole experience disorientating. It serves as another example of how Baker destabilizes heteronormative standards. The festive mood features through bright Christmas lights whilst in the foreground Sin-Dee drags Chester’s mistress bloody and brutalized through the streets. Vibrant and eccentric but a ‘beautifully wrapped lie.’ Setting during Christmas Eve strikes as a strange choice considering the context of the film but ‘Tangerine’ is full of these oxymorons. Moreover, the presence of the setting is so encompassing – it becomes a character of its own. Black bodies are not exploited or sexualised in the way they usually are in pop culture. Not only is the representation solid in terms of trans folk but all three main characters are people of colour. The buddy comedy aspect of the film normalizes the existence of trans people for an audience who is used to cis, white men inhabiting the buddy comedy genre. Plainly speaking, trans is not portrayed as ‘The Other’ for once. By eliminating any plot about Sin-Dee and Alexandra ‘fitting in’ or teaching people acceptance, ‘Tangerine’ is able to focus on the protagonists as multi-dimensional characters whose identity doesn’t revolve around being trans. As opposed to many mainstream films about queer identity that showcase queerness as trying to assimilate within the fixed restraints of heteronormativity. You, as the watcher, are in such close proximity of the two – literally and metaphorically through intimate moments, one cannot focus on anything else. The space Sin-Dee and Alexandra exist in, within Santa Monaca, is established as the norm. This technique erases any distractactions whilst subverting heteronormative expectations. The film was shot on iphones which gives the film a raw feel and places the watcher right next to the two protagonists: Sin-Dee and Alexandra. One of the most potent parts of the viewing experience is the cinematography. ‘Tangerine’ refuses to romanticize the life of an avid sex worker. The commendable balance of comedy and emotion does not take away from the gritty tone of the film. Hearing their demands about creating ‘Tangerine’ to ‘present these characters to mainstream audiences in a pop culture way.’ Therefore, they would be relatable without stripping them of their legitimacy or vulnerability. Both Taylor and Rodri are black trans actresses who have experienced the ups and downs of living within subcultures in LA. As The Guardian writes ‘it represents a major leap for transgender people on film.’ Baker was able to successfully portray trans folk due his willingness to tell real stories in combination with the efforts of the stars: Kitana Kiki Rodri and Mya Taylor. The plot, genre choice, casting and cinematography combine to achieve a realistic image. There is no overshadowing of villainization, victimhood or slut-shaming which is usually attached to the identity of the sex worker. He underlines issues sex workers face on a day to day basis and gives the community a voice rather than speaking over with societal preconceptions. She is very passionate about achieving accurate and just representation for POC within mainstream media. She serves as BAME Politics & Representation Current Events Reporter for The Clandestine.įeatured Image: A still from the movie, featuring the characters Sin-Dee and Alexandra]īaker’s ‘Tangerine’ seeks to accurately and authentically represent trans street culture in Los Angeles. Manvi Dixit is a third year English Literature student with a desire to work in investigative journalism.
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