The film explores the coexistence of anger, grief, and tenderness within our bodies. It depicts an impossible revenge transformed into a queer and absurd ritual, where laughter becomes resistance and kindness emerges from chaos.
Trans healing is conceived as a collective, intimate, and political practice. Set in a speculative universe marked by the rise of fascism, the film addresses both institutional violence and possible escape routes: trans sisterhood, solidarity, memory, and desire. The approach is baroque, queer, and excessive, bordering on the ritualistic. The cast is exclusively non-cis, serving both as a pledge of sincerity and as a political gesture. I film my sisters to make visible what society erases and to affirm that, from our ashes, we reinvent life.
Oestro-Dystopia also offers the opportunity to integrate my ceramic practice into its visual and material language. A large portion of the props are handmade ceramic objects, conceived as sculptural extensions of the film’s universe. These elements introduce a tactile, fragile, and ritualistic dimension, anchoring the speculative narrative in a physical and artisanal materiality. Ceramics serve here as both set design and symbolic material, bearing the traces of the body, time, and transformation, and reinforcing the film’s exploration of themes of kindness, memory, and survival through creation.

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