Young Noor is part of Pakistan’s transgender community, the Khusras, who make their living as female performers. But Noor wants to be a man. In a country where arranged marriages are the norm, he dreams of mad, passionate love, fantasizing about seeing a beard and moustache grow on his delicate features. And in a world where sticking together means survival, Noor chooses to strike out on his own. A wise old man has told him that far off in the mountains lies a sacred lake, once the realm of the fairies, where wishes can be granted. Behind the wheel of his multicoloured truck, Noor heads off on his quest. Screened in the ACID selection at this year’s Cannes, Noor—at once a dreamlike epic, lyrical road movie and ode to emancipation—asserts its voice with elegance and sensitivity. This first feature from Çagla Zencirci of Turkey and Guillaume Giovanetti of France is marked by its naturalistic staging, simple yet masterly, and its dazzling use of chiaroscuro. Noor also points up the talent of its lead actor: the real-life Noor, who brings his own life to the big screen with nuance and finesse.
With the support of Acid