Virginia Woolf’s “Orlando” tells the story of a young man who grows up to become a 36-year-old woman. Almost a century after its publication, Paul B. Preciado speaks to Virginia Woolf to tell her that her fictional character has become a reality. The transition of Orlando’s body now lies at the root of all non-binary bodies and there are Orlandos all over the world. Through the authentic voices of other young bodies undergoing metamorphosis, Preciado retraces the stages of his personal transformation through a poetic journey in which life, writing, theory and image merge freely in the search for truth. Every Orlando, he says, is a transgender person who is risking his, her or their life on a daily basis as they find themselves forced to confront government laws, history and psychiatry, as well as traditional notions of the family and the power of multinational pharmaceutical companies.
On a Sunday morning, a group of young revelers enter a large, vacated apartment. Tired drag queens mix with debauched grannies, drunken vagrants and shy virgins over the course of the morning.
Ablou is a young man prisoner of a dream and a park. He meets strange characters who try to lock him up a little more in this long sleep.
Looking for a place where they can live their romantic idyll, a love triangle ‘the weirdos’ will go on multiple dates, good and bad, that will eventually rush them to a tragic end.
Two men meet in a park: Haldern has on a black balaclava, while Ablou is wearing white underpants. The film is based on choreography by Daniel Larrieu, who was invited to "play with the story board" of Alfred Jarry's book "Haldernablou", with illustrations by Tom de Pékin.
