Framing Agnes

2022, Angelica Ross, Canada, Carmen Carrera, Christine Jorgensen, English, Jen Richards, Jules Gill-Peterson, Laverne Cox, USA, Zackary Drucker,

Director: Chase Joynt
Release Year: 2022

Synopsis:

"Framing Agnes" (2022), directed by Chase Joynt, is a groundbreaking documentary that reshapes the way we view transgender histories and media representation. The film plays with the conventions of the talk-show format, a medium long associated with the sensationalized portrayal of marginalized groups, to critically examine the ways in which trans people have been framed in public discourse. By blending historical documents with re-enactments, "Framing Agnes" reveals the untold stories of transgender individuals from the archives of the UCLA Gender Clinic, where pioneering research on transgender identities took place in the 1950s. Through this approach, the film explores both the personal and societal dimensions of trans history. 

 

The film centers around Agnes, a pseudonymous trans woman whose story, although initially recorded by sociologist Harold Garfinkel in the 1960s, remained hidden for decades. Agnes's decision to present herself as intersex in order to access gender-affirming surgery—a rare opportunity in the U.S. at the time—is one of the many remarkable cases unearthed from the UCLA archives. Joynt brings this archival material to life by casting transgender actors who reenact these historical interviews, using a unique cinematic blend of fiction and nonfiction. The format is a deliberate inversion of the traditional talk-show setup, evoking a bygone era of television, where the format was often used to dissect and exploit marginalized groups. Through these reenactments, Joynt critiques the historical and ongoing commodification of trans lives. The filmmakers’ innovative use of black-and-white footage for the reenactments contrasts with vibrant color for contemporary interviews with the actors and experts, establishing a layered dialogue between past and present. 

 

"Framing Agnes" operates within a hybrid structure, blending scholarly commentary with dramatic recreations. The interviews are based on the transcripts of Garfinkel’s work with transgender patients, who were part of early studies on gender and sexuality at the UCLA Gender Clinic. In these reenactments, the actors bring to life six different transgender individuals—each grappling with the medical and social systems of the time. The director, Chase Joynt, takes on the role of Garfinkel himself, while an impressive ensemble cast, including Zackary Drucker (who plays Agnes), Angelica Ross, Max Wolf Valerio, and Silas Howard, brings their respective characters to vivid life. The documentary does not limit itself to just one voice or story; instead, it delves into the experiences of several trans men and women. Joynt’s exploration of Agnes’s life, paired with reenactments of other interviews—such as those with a Black transgender woman named Georgia, played by Ross, or Henry, a transgender man played by Valerio—adds depth to the film's examination of the multifaceted nature of trans identities. These diverse portrayals help to illuminate the complexities of transgender history and highlight the varying levels of discrimination, survival strategies, and resilience within the community. 

 

One of the central themes of "Framing Agnes" is the reclaiming of a trans historical narrative that has often been isolated and fragmented. Joynt’s re-imagining of these case studies not only disrupts the clinical detachment of the original medical records but also presents an alternative to the stereotypical portrayal of transgender people as isolated figures. The documentary asserts that trans communities have always been interconnected, supporting each other and navigating societal obstacles together, even before the term "transgender" was coined. Joynt’s approach is self-reflexive, acknowledging the challenges of portraying these histories, especially as a white, trans masculine filmmaker. This discomfort is woven into the narrative, adding a layer of introspection to the film’s construction. Rather than merely dramatizing the past, Joynt foregrounds the present-day perspectives of the actors as they discuss their own experiences, alongside the reenactments. This balance creates a conversation between historical and contemporary understandings of trans identity. The decision to stage the reenactments in the format of a 1950s-style talk show—reminiscent of programs like "The Mike Wallace Interview"—is a powerful commentary on the media's long history of using sensationalism to frame transgender stories. These shows, while offering some visibility, often reduced trans individuals to curiosities or objects of moral and medical investigation. Joynt uses this format to subvert and reclaim the power of the interview, offering a space for the actors to bring humanity and depth to the historical figures they portray. Through this reimagination, "Framing Agnes" critiques not only the medical field's treatment of transgender people but also the media's role in shaping public perceptions. Joynt’s decision to have his actors portray their characters on a stage designed to mimic a 1950s television set speaks to the commodification of trans people’s narratives, which often reduced them to sensationalized spectacles for mainstream audiences. 

 

Another distinguishing feature of "Framing Agnes" is its meta-cinematic style. The documentary continuously breaks the fourth wall, with moments where the actors and the director converse directly about the process of reenactment. This self-reflexive approach encourages viewers to question not only the historical representations of trans lives but also the ways in which those representations are constructed in the present. This dynamic approach is both challenging and illuminating, as it pushes the boundaries of conventional documentary filmmaking. By showing behind-the-scenes footage, including takes, camera setups, and discussions about motivation, Joynt invites the audience into the collaborative process of reclaiming trans history. This behind-the-scenes approach does not distract from the film’s primary focus; instead, it enhances the viewer’s understanding of the layers of storytelling and the challenges inherent in representing marginalized histories. At the heart of "Framing Agnes" is the desire to resurrect and celebrate the voices of transgender individuals who have been erased or forgotten by history. While Agnes’s story alone would merit a film, Joynt’s decision to explore the lives of several trans individuals from the UCLA archives adds significant depth to the film. Through the reenactments and interviews, "Framing Agnes" becomes a reclamation of history, highlighting the resilience of transgender individuals who, despite being marginalized, created their own communities of support and survival. The inclusion of Georgia, a Black transgender woman, serves as a reminder that trans history is not monolithic. Racial and class disparities have always played a significant role in shaping the experiences of transgender people. Angelica Ross’s portrayal of Georgia, and her insights into the intersectionality of trans identities, deepens the film’s exploration of these issues. The documentary challenges the notion that the trans experience can be understood through a single narrative, instead emphasizing the diverse realities within the community. 

 

Ultimately, "Framing Agnes" serves as a crucial contribution to the broader understanding of transgender history and identity. The film not only sheds light on the hidden stories of trans individuals from the past but also serves as a bridge between those historical narratives and the ongoing struggles of the trans community today. By exploring these complex histories through a multifaceted, experimental lens, Joynt’s documentary invites audiences to reconsider how we understand and portray the lives of transgender people. In conclusion, "Framing Agnes" is a powerful and thought-provoking film that goes beyond traditional documentary conventions. Through its innovative use of reenactments, its critical examination of media representation, and its celebration of trans voices, it provides a new framework for understanding transgender history. As a documentary, it challenges the audience to confront not only the erasure of trans people from historical narratives but also the ways in which these histories are framed and represented in the present. By doing so, "Framing Agnes" opens up space for greater empathy, understanding, and solidarity, ultimately encouraging a more inclusive and nuanced approach to trans history and visibility.

 

via: youtube

wikipedia and rogerebert.com
imdb and nytimes.com and thewrap.com

Image credits: YouTube