By Maria Eugenia LOMBARDI, Carolina REYNOSO


First film - Completed 2019

Vida, transgender woman, in the privacy of her home, at the theater, on the radio or in the legislature. Her reality and the devices to deal when that reality becomes unbearably violent. Her entire life told in a whisper of small, simple images.

& Awards

Ventana Sur 2019
Gobierno de la Ciudad de Buenos Aires 2019
Declarado de interés para la Promoción y Defensa de los Derechos Humanos de la Ciudad Autónoma de Buenos Aires
festival de cine con riesgo 2019
Documentales nacionales selección oficial
Ficip 2019
Temática Diversidad
International Competition
    • Year of production
    • 2019
    • Genres
    • First film, Social issues, LGBT
    • Countries
    • Languages
    • Budget
    • 0 - 0.3 M$
    • Duration
    • 80 mn
    • Director(s)
    • Maria Eugenia LOMBARDI, Carolina REYNOSO
    • Writer(s)
    • Maria Eugenia LOMBARDI, Carolina REYNOSO, Vida MORANT
    • Producer(s)
    • Maria Eugenia LOMBARDI (80 Mundos), Incaa INCAA (INCAA)
    • Synopsis
    • The body of Vida walks through the city... like so many others, but no. It is not the same for her. The monster of gray cement protects her in its immensity, in its anonymity, but it also vulnerates her at every moment.
      The billboards of advertising structure what a woman should be: sensitive, delicate, industrious, mother, thin, beautiful, and neat. Also woman since birth; something like a bio-woman. Vida reproduces some of these mandates. Simply ignore some and combating others from the multiplicity of their facets: Vida is an actress, playwright, director, but her performativity is not only on a stage, but present in her daily life. Like all transgender people, she is questioning society at every step she takes ... and it is not a way of saying. Each step for Vida, is a battle territory won to hegemonic heteronormativity.
      So, Vida is a trans woman ... but she is also an academic secretary and militant. She works at the Mocha Celis High School, the first baccalaureate for trans people in Latin America. There her work becomes militancy very often, in the eagerness to get other transvestites to come to have the rights that she has already acquired through her personal struggle helped by a certain conjuncture of struggle and conquest of the LGTBQI community in Argentina.
      She is also a Master of Ceremonies of the Legislature of Buenos Aires, conducts all the ceremonies of that institution with the utmost drama and solemnity.
      Thus, through isolated and chained episodes, the life of Vida is TRANSITIONED: Vida in the privacy of her home, of her office, at the theater, on the radio or in some public place. Vida celebrating life and paying homage to death with her loved ones. The childhood of Vida. Her reality and her devices to deal with when that reality becomes unbearably violent. Her whole life told in a whisper of images, small, simple.
      The life of Vida as that of all others. But no...