Kokomo City (2023)

Though not the most balanced, this is still a fascinating, well paced, documentary that follows the lives for four black trans-sexual women who make their living in the sex industry. Each of them has a story to depict illustrating what initially drove them to this lifestyle, what keeps them earning their money this way - and, ultimately, what they might care to do were they given a decent kick at the ball and an opportunity to escape their cyclical - and often dangerous - existence. The narrative is left to the women, and though they reach the centre of the wheel using different spokes, their conclusions about sexuality amongst the black communities is consistently and often wittily poignant. The roles that society might attribute to the archetypal alpha male being turned on it's head when curtains are drawn and typical bedroom roles enhanced or reversed. At times their deliveries can verge on the rant and one, specifically, needed editing but for the most part this is quite an eye-opening introspective from people who don't weep into their coffee cups, but who extol their own virtues clearly, succinctly, very earthily and ultimately I found engagingly. There are a few contributions from others but they seem there just to allow the audience to take a breather from the intensity of the four who have plenty to say - and agree with them or otherwise, it's well worth listening to.

I often find it fascinating when a documentary provides viewers with an in-depth, inside look at a world seldom seen by those who aren’t part of it, yet that’s clearly the greatest strength of this debut feature from filmmaker D. Smith. This captivating examination of the lives of four African-American transsexual sex workers in New York, Atlanta and Miami shares stories of their experiences, their outlooks on their vocation and how they view themselves in relation to the Black community at large. It also features interviews with the clients and supporters of these individuals and how they relate to one another, both as objects of desire and sometimes as loving, adoring friends/partners. Beautifully shot in black-and-white, the film holds little back in telling the stories of its subjects, both in terms of dialogue and images (so sensitive viewers take note). And, for its efforts, the picture has been widely honored by film festivals and critics associations, as well as a recipient of best documentary nominations by the Independent Spirit Awards, the Critics Choice Documentary Awards and the Directors Guild of America. That’s quite an impressive pedigree for a film that might not have even been made not all that long ago. It’s a real testament to how far we – and cinema – have come over the years.