In "Orlando, My Political Biography," Paul B. Preciado offers an innovative, politically charged cinematic exploration that challenges traditional narratives. Opening with a night scene where Preciado is seen pasting posters with enigmatic slogans and questions, the film immediately establishes its unconventional tone. This isn't just a movie; it's a political statement, a form of literary criticism, and an essay on art, society, and sexual identity, all rolled into one.
Taking inspiration from Virginia Woolf's "Orlando," which features a protagonist who transitions from male to female, Preciado delves into the novel with both admiration and critical analysis. He's intrigued by the narrative but also questions Woolf's oversimplification of the transformation process.
The film uniquely approaches Woolf's text, featuring various trans and nonbinary actors who embody different iterations of Orlando, including those named Orlando (like Oscar S Miller and Janis Sahraoui) and one who portrays Woolf herself. These actors are placed in a range of scenes, from dramatic enactments to art-like installations, reflecting on the transition process and societal hurdles faced by trans individuals.
A notable scene set in a doctor's office portrays the Orlandos waiting to get hormone prescriptions. The film poignantly captures the intrusive nature of medical questioning about their bodies, revealing how trans individuals often have to navigate a society that gatekeeps their identities and bodies.
"Orlando, My Political Biography" stands out as a rare cinematic piece, reminiscent of the experimental arthouse cinema era but with a contemporary edge. It boldly defies genre constraints and narrative expectations, weaving through various storytelling modes without concern for conventional cinematic structures. At times, the film may seem directionless, but its imaginative and confident approach to storytelling and refusal to adhere to standard cinematic norms is refreshing.
Preciado, a Spaniard with a humble background, brings an outsider's perspective to the film. His narration, with a low, gravelly voice, is reminiscent of the essayistic films of an older Jean-Luc Godard. The use of text and the film's overall aesthetic also draw parallels with Godard's earlier works, particularly in its willingness to immerse the audience in complex themes without overt explanations.
Introducing himself as one of many Orlandos, Preciado humorously remarks that Virginia Woolf inadvertently wrote his biography in 1928, a statement that captures the film's essence – simultaneously true and not true. Preciado suggests that Woolf managed to encapsulate the experiences of trans and genderqueer people even before there was language to describe them. His closing statement, "You have never been as alive as now," encapsulates the film's exploration of identity and existence.
In essence, "Orlando, My Political Biography" is more than a film; it's a journey through the complexities of gender identity and societal norms, told through a kaleidoscope of artistic expressions and personal reflections.
