Nous n'irons plus au bois

Director: Josée Dayan
Release Year: 2008

Synopsis:

"Nous n'irons plus au bois" (2008), a documentary by Josée Dayan, stands as one of the most insightful and compassionate portrayals of the transgender community in France. Focusing on the personal stories of several prominent transgender women, the film provides an unflinching look at their struggles, triumphs, and the societal challenges they face. Through candid interviews, Dayan offers a space for these women to speak about their experiences, weaving a narrative that is free from judgment and sensationalism, which often cloud public discourse on gender identity.

The title of the documentary, which translates to "We Will No Longer Go to the Woods," evokes a sense of quiet defiance and hope, suggesting that the community no longer needs to retreat into the shadows of society. This concept is explored through the stories of figures such as Pascale Ourbih, Marie-Pier Ysser (Marie-Pierre Pruvot), Andréa Colliaux, and others, each of whom represents a different facet of the transgender experience in France.

At its core, the documentary presents a diverse spectrum of voices. Some transgender women, like Bambi, are public figures who have embraced the limelight, using their platforms to advocate for the rights and dignity of transgender individuals. Others, like Claire Carthonnet, have lived more private lives, with some still confronting the societal pressures that continue to dictate how their identities should be recognized. The juxtaposition of these contrasting paths underscores the complexity of navigating a world that has not fully accepted the fluidity of gender. Dayan’s documentary goes beyond the mere act of transition. It explores the painful reality of living in a body that does not reflect one's gender identity. For many of the women interviewed, their transitions were not only about changing their bodies but also about challenging the societal norms and structures that enforced a binary understanding of gender. The film poignantly shows that the journey toward alignment with one's true self is fraught with emotional, physical, and sometimes financial hardships.

Pascale Ourbih, a key figure in the documentary, offers a powerful testimony of the political and medical obstacles that transgender individuals face. A passionate advocate for transgender rights, Pascale sheds light on the bureaucratic and medical hurdles involved in the transition process, which, in 2006, were still deeply entrenched in outdated and discriminatory practices. Through her, the documentary critiques the medicalization of transgender identities and the stigma that labels them as mentally ill. Pascale’s candid account of her own transition speaks to the broader struggle for recognition and respect within a system that has long considered transgender people as outliers.

One of the most poignant aspects of the documentary is its exploration of the emotional toll of living as a transgender woman in a society that often views them as either invisible or overly fetishized. As the film moves through the interviews with Bambi, Gaëtane, and Manuela, it becomes evident that each woman’s journey is shaped by a complex mix of internal self-doubt and external social pressure. Bambi, a pioneering figure in the Parisian cabaret scene, recounts her early life in Algeria and her subsequent transformation in the context of a world that both celebrated her beauty and demanded that she perform her gender identity for public consumption. In contrast, Gaëtane, who also performed at the Carrousel, reveals a more reserved outlook on the world she inhabited, one filled with moments of bitterness and harsh realizations about the price of her visibility.

The documentary also includes interviews with academic figures like sociologist Marie-Hélène Bourcier and historian Eric Fassin, whose expert analyses frame the personal narratives within a larger sociological and historical context. Bourcier discusses how the concept of gender identity has evolved over time, emphasizing the ways in which cultural norms have shaped and sometimes distorted the lives of transgender individuals. Fassin, with his deep knowledge of transgender history, delves into the societal shifts that have gradually altered the way transgender people are perceived and treated in France. Through its candid interviews and expert insights, "Nous n'irons plus au bois" paints a portrait of a marginalized community that is beginning to carve out space for itself in the social, political, and cultural landscapes of France. The documentary presents the idea that gender is not a static or predetermined category but a fluid construct that can be shaped by personal experience, medical intervention, and social recognition. This theme of fluidity is underscored by the stories of Andréa Colliaux, a flight attendant who transitioned in her early thirties, and Claire Carthonnet, who discusses her transition from a life of prostitution to a new identity as a woman in the workforce. Their stories speak to the larger issue of how transgender people are often forced into specific roles within society, particularly in relation to their sexuality and their ability to find stable, respectful work.

Andréa’s story, in particular, highlights the ongoing challenges that transgender individuals face in the workplace. As one of the first transgender flight attendants in France, Andréa faced intense scrutiny and opposition from her employer, who initially attempted to dismiss her upon learning of her transition. However, through legal action and personal perseverance, Andréa was able to return to her position, proving that the fight for acceptance within the professional world is still an ongoing battle for many transgender individuals. The film also touches on the growing visibility of transgender women in media and culture, particularly in France. Despite progress, however, there is a still a significant gap in how transgender individuals are represented. In contrast to the growing acceptance of LGBTQ+ individuals in other parts of the world, French society remains comparatively conservative, with transgender women often relegated to the fringes of mainstream media or treated as curiosities rather than fully realized individuals. However, figures like Marie-Pierre Pruvot and Coccinelle, two pioneering transgender women who have found fame in the entertainment world, show that it is possible for transgender people to carve out spaces for themselves, even if those spaces are often confined to niche or subcultural circles.

In an era where transgender issues are beginning to gain more visibility in the media, "Nous n'irons plus au bois" stands as a testament to the importance of providing transgender people with the opportunity to tell their own stories. Josée Dayan’s approach is refreshing in its refusal to sensationalize or romanticize the transgender experience, instead offering a platform for honest, unfiltered narratives that capture the multifaceted nature of living as a transgender person in contemporary France. The documentary closes with a message of hope and change, encapsulated in the words of one of the interviewees, Claire Carthonnet, who reflects on how, if society had not imposed such rigid gender norms, she may never have felt the need to transition. This final reflection encapsulates the overarching theme of the documentary: that gender is not a fixed category but a complex interplay of biological, social, and psychological factors that each individual must navigate in their own way.

In conclusion, "Nous n'irons plus au bois" offers a deeply moving and informative exploration of the transgender experience in France. By giving voice to the transgender women who have been at the forefront of the struggle for recognition and equality, Josée Dayan’s documentary provides a crucial step toward changing the narrative surrounding transgender identities. It is a powerful reminder that, as society evolves, so too must our understanding of gender and the ways in which we support and affirm the lives of those who challenge its boundaries.