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In new documentary Mala Mala , sex workers, drag queens, and activists tell their complicated and often unglamorous stories.
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"I want to focus on a better Puerto Rico in the sense that my rights are respected, that I become known as a transsexual, and that I can study and work like any other individual," says Ivana Fred in the opening minutes of Mala Mala , the debut documentary from directors Antonio Santini and Dan Sickles, which follows the complicated and often unglamorous lives of trans people living in Puerto Rico.
A high-profile transgender activist herself, Ivana sets the tone for the rest of the feature-length film as it follows sex workers, drag queens, and advocates who have banded together to start a historic trans liberation movement. Among them is Sandy, 35, a prostitute who wants to get off the streets and secure a stable future; Soraya, a 65-year-old hairstylist and gender reassignment surgery pioneer; Samantha, whose complications from black-market hormones forced her to halt her transition; Paxx, a trans male who lacks access to the hormones he needs; and Sophia, who after successful transition in New York moved to Puerto Rico, but is left unsure of the surgical choices she has made.
The film feels especially timely after the debates surrounding Caitlyn Jenner's recent Vanity Fair cover, as each character tackles questions about gender identity and what it means to be a woman (and man) today. Soraya, who is one of the few Puerto Ricans to win a legal battle over changing her gender on her birth certificate, and the only transgender person to run for public office on the island, insists she has met "thousands of people who say they want to be a woman…with tits this big. But that's not what this is about. Being a woman is something that you hold in your heart and your soul."
To coincide with the film's release on July 1, we spoke to Santini and Sickles, now 24 and 25 respectively, about embarking on such a lofty project with no prior experience in filmmaking. They reveal what inspired them to make Mala Mala (despite Sickles' grandmother's belief that no one wants to watch a film about transgender people in Puerto Rico), and what they hope you'll learn from proving her wrong.
In total, you filmed more than 275 hours of footage from December 2011 to February 2014. How did you find the subjects for Mala Mala ? How did it all start?
Antonio Santini: It all started with a Texan trans woman we met in a club where she was performing as a drag queen. We started talking to her and she invited us to her house the next day. When she opened the door, she wasn't wearing any makeup or a wig, and we realized she had begun transitioning three months prior. She was going through a lot in her life; she was getting a divorce from her wife and she had lost her job because of her transition. She also has a daughter, and wasn't sure what the correct way was to tell her. It was so different from what we had seen at the club, and we were so shocked at the consequences she was facing because of her transition. So we started to ask, "Why is this happening? Why is it so hard for her to [transition]?" Then we learned she wasn't alone in her story.
"It's about sharing stories about people who aren't given the opportunity to have a voice."
How did you convince everyone in the film to take part, to tell their stories on the record?
Dan Sickles: It wasn't so much convincing them as more approaching them in the right way, in the right context. We had tried to go up to Sandy before Ivana had introduced us. And at the time we were 23 years old, we wanted to talk to the girls involved in sex work because no one had really captured that part of the community. And they worked right outside the drag clubs we were filming at. So our initial contact with Sandy and her friends and coworkers was us coming up to them with fliers and asking if they wanted to be in a movie. They would look at us like, "Are you kidding me? Not only am I working right now but what kind of movie are you trying to make—you look like you're 17 years old!" [Laughs.] So that wasn't successful! But then we went with Ivana, who goes nightly to hand out condoms to the girls who are working. When she was the one introducing us it was a totally different interaction.
Prostitution is illegal in Puerto Rico, yet there is no presence of police in the documentary. Do authorities turn a blind eye?
Dan Sickles: It seems to be very much that, and also most of the time the cops are the clients. Sandy has been locked up, but they have a very intricate system to let each other know if it's a night that they are busting people. So they manage to protect themselves from it as much as they can. But every now and then there are definitely clashes. We've heard more stories about kids driving around with Clorox supersoakers and spraying the girls in their face. There is much more violence coming from random cars than from the police.
Did you have any idea how the documentary would end — with a landmark bill being passed to grant transgender women and men the right to work and study — when you started it?
Dan Sickles: No, we had no idea how the plot would turn out. It was very quickly the bill moved through legislature. We got a call one day from Ivana, who was like, "There's this march happening, people are going to be voting on this bill, and there's a chance it might actually pass." We got very lucky in that respect. People perceive Puerto Rico as behind the times, but in this aspect, the passing of the bill, they're ahead of most states in the U.S.—there are only 19 states right now that have laws like the one they enacted. We think of Puerto Rico being this backward, lawless place, but actually they've done something great that serves themselves. It's a significant achievement, especially for how poor it is. It's twice as poor as Mississippi, and you don't see Mississippi enacting laws to help minorities.
After the bill passed, most of the women in the film got jobs. Including Sandy.
"Not only are they trans, but they're also women. They still have a lot of rights to fight for."
There's a part in the film where Sandy says she won't have sex reassignment surgery until she's retired from sex work. Her reasoning is that once she gets a vagina, she doesn't want anyone "invading that space," which—as a woman—I find interesting.
Antonio Santini: In many ways they're scared of losing their clients. Thats what their clients look for. It's a cycle. A lot of them fall into prostitution because they're trans and unemployed. They think, "Okay, I'll do this for three months, make enough money to pay for my hormones and my surgery, and then I'm out." But then it's like, "Oh, I'm trans now, and now I can't get a job." So they continue sex work. They want to keep their transition going, but then they'll stop making money for their hormones. So they're stuck in this loop. Which is why Sandy is always telling the group, "You gotta go to school. Keep doing sex work, but you gotta go to school."
What was the hardest thing you faced while filming?
Dan Sickles: As controversial and taboo as the subject matter is, we were 22 when we started, and to convince our parents and our friends that it was worth doing this when we didn't have anything to show, that was hard. As Antonio said, it was like we just showed up and asked, "Hey can we talk to you? Can we film you and record your story?" And these women, they were like, "Why do you want to film me? Why am I significant?" At the same time, I also had someone like my grandmother saying, "Who wants to watch a film about this?" But the team behind the film has been incredibly resilient, facing insurmountable tragedy but still going on. I can't say there has been an aspect of the film that has been easy. [Laughs.] But making this film is hands down the most rewarding and humbling experience of my life to date. But it was a constant struggle along the way.
Is the transgender community in Puerto Rico different from the U.S.?
Antonio Santini: The island's political and religious history, the mix of Catholic influence from the Spanish colonizers with the more recent heavy influx of media and imagery coming from the U.S., makes it a unique community. What happens, for example, when an Afro-Caribbean male dresses in drag to portray an American celebrity like Lady Gaga or Britney Spears, or when someone who was raised under the strict guidelines of machismo comes out to their wife as a woman? There are different cultural expectations of desire and performance.
Dan Sickles: The hegemonic social pressures to conform, and the violence that may accompany a failure to do so, are the same in both places. In many cultures, it's difficult for people to recognize the humanity in someone who is transgender or who lives beyond typical labels. In Puerto Rico, stigma may stem from the historical grip of the Catholic church, while in the U.S., stigma may stem from a more secular place, but in the end I believe the needs and experiences of transgender individuals in both places are more aligned than not—just as I believe the desire for acceptance and security are universal human desires belonging to every community.
In that respect, what do you hope Americans come away with after seeing the film?
Dan Sickles: I'm all about complicating a perspective, challenging the words that people use, challenging the thoughts they employ, and finding a more honest way to communicate. That engagement, that discussion—if we can make "trans" not such a scary and loaded word—then people might consider it more when talking about it.
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