(2019) Documentary (1091) Freddie McConnell, Esme McConnell, CJ. Directed by Jeanie Finlay
Timing can be everything. For Freddie McConnell, he is fixing to turn 30 and he is anxious to start a family of his own. He wants to have a baby, but he is a trans male, transitioning from being born female who has had surgery above the waist but not yet below. What he wants is not unheard of, but not easy. It means having to interrupt his journey to the gender he is supposed to be; it will mean telling family and friends what he has chosen, knowing that not all of them will be supportive. It will mean never-ending second guessing, wondering if he is doing the right thing for the right reasons. They are legitimate questions and there are no easy answers.
I have often heard women comment that men would be different creatures entirely if they could give birth; most women agree that no man who can be completely bedridden by the man-flu could tolerate even a few days of being pregnant, let alone the pain of giving birth. Generally in cinematic terms, men giving birth has been a comedic function. Finlay wisely gives the whole process respect and never descends to the kind of low-brow humor that a film like Junior, for example, descended to.
Freddie is, as he puts it, the only trans in the small seaside town of Deal in Kent. His desire to have a baby of his own is so overwhelming that adoption just isn’t an option; he wants to put his testosterone injections on hold, and carry a child to term while he still can. The process isn’t an easy one and Finlay follows Freddie through all of it. We go along with him to the doctor’s appointments, talking with sometimes it feels like every licensed member of the National Health Service (surely it must have felt that way to Freddie at least) as he takes this difficult path.
By his side every step of the way is his redoubtable mum Esme and his step-dad Gary. His father, who it is clear never really accepted him, is most definitely not on board. Even CJ, his romantic partner, eventually succumbs and their relationship dissolves. Freddie himself has plenty of self-doubt and does an awful lot of crying when he is alone in bed.
The movie’s coverage of the emotional aspects of the pregnancy and its ramifications are really where the film shines. Freddie often wonders if all of what he is sacrificing, which to a certain extent includes his own identity will be worth it in the end – it’s not really a spoiler to say that it is. In the end, the movie raises the point that life isn’t about doing what is expected of you; it’s about doing what makes you happy, no matter how difficult and demanding that may be. At the end of the day, we can only be true to ourselves and Freddie, although he questions it, ends up being exactly that.
The film, produced by the BBC, takes us through the birth and while we mostly hear it and see Freddie from the waist up, that and scenes of him injecting himself may be a bit much for those who are sensitive to such things. However, all that aside, Freddie is so likable and engaging, and his mother such a supportive and loving soul that you can’t help but root for them.
And when it comes to timing, I think it is notable to report that the movie made its American VOD debut four days after the Trump administration rolled back healthcare protection for trans patients during a pandemic, no less – further illustrating the struggle for acceptance that this community continues to wage. This film makes that struggle so much more human and should be part of the conversation of the cost of decisions like the one the Trump administration has made.
REASONS TO SEE: Freddie is an engaging and fearless subject. The emotional aspects of the story are even more fascinating than the practical.
REASONS TO AVOID: Some of the scenes are not for the squeamish.
FAMILY VALUES: There is profanity, adult issues and brief nudity.
TRIVIAL PURSUIT: The film title refers to the seahorse, a species in which the male carries and spawns its own young.
BEYOND THE THEATER: AppleTV, Fandango Now, Google Play, Microsoft, Vimeo, Vudu
CRITICAL MASS: As of 6/18/20: Rotten Tomatoes: 100% positive reviews; Metacritic: No score yet.
COMPARISON SHOPPING: The Trans List
FINAL RATING: 7.5/10
NEXT: The Pollinators