Cristina Bartoletti

It often happens that at the moment of death, transgender individuals are shorn of their identity. Their families are ashamed, the funeral takes place in secret, and on the tomb appears the name the deceased had before their transition, in one stroke nullifying the entire life path they had chosen. The same thing happened to Antonia. Her girlfriends gather to honor her memory and give her back her identity denied. In telling her story, the film’s stars, all drawn from the variegated transgender world, interweave the narrative with tales of their own lives, experiences, and memories.

Early one morning, in an unspecified and seemingly far off time, a 12 year old boy, together with some friends, is searching a thick forest for objects of value. There is a lot of fog. The boy goes off by himself to another part of the wood and stands admiring an antique object he has found at the foot of a tree. His happy expression turns to one of curiosity as he is distracted by some high pitched cries which come and go intermittently.

The year is 2085 and no human babies have been born in over a decade. A group of disparate survivors respond to a call to meet in Athens, where the film’s narrator Jo, a boy of African descent, aims to make the world’s last film.

It’s Halloween. Camilla stands outside her school. She looks around to find her dad, but her mother Paola is the one waiting for her instead. She takes the little girl to the bakery ad tells her to get whatever she wants: today is a special day. Back home, Paola dresses her up as a zombie. The long-awaited “trick or treat” moment is coming. A hood with two holes for the eyes covers her face. Camilla walks through the streets of her town hand in hand with her mother. However, the woman has a different plan.