TOO WIDE - MOYIN SAKA / by Emma Barnaby

"The cyclical film follows mainly through an angle of surveillance, the act of getting dressed, going outside and returning home. Yet, through this lens we see a routine often seen as mundane or even meaningless as a key moment of distress and danger for the trans subject as a result of the piercing harassment they face daily. The images, made with a low quality webcam, mimic the feelings of surveillance that transphobia can often evoke. This is further heightened through the real words spoken throughout the film.

Transphobia, particularly the experiences of trans-feminine people of colour, are never the centre or subjects of UK narrative. When we do see transgender feminine people on the screen, it is either rarely acted by a trans person, created with a trans person, is showing them in their death or assault, and is almost always white. ‘Too wide' aims to bring what is often erased when discussing trans issues within art: the humanity. By showing the routine many cisgender people take for granted, as a daily act of resistance and survival for a trans-feminine person of colour, or by using the poetry of a trans person of colour, or by having the actor be a trans person of colour: too wide is aiming to focus and centre a narrative that is never told, yet clearly needs to be, whilst ensuring it is done in a way authentic and true to the lived experience.

The angle of the film mimics surveillance, throughout most of the film the subject seems as if not to notice that the surveillance is there, however there comes a point where the subject breaks the fourth wall and then proceeds to breakdown and take their make-up off for the surveillance, they begin to edit themselves in a way to which the surveillance (society) will be happy with or deem as acceptable. The surveillance is the perpetrators, the people who stare on the tube, the people who shout and jeer in the streets, the people who move away from them on the bus, the people who film them on their phones as there walking home, the people who follow them home and the people who see yet choose to ignore. The repetition of pictures and sound from the beginning and the end highlights the damaging cyclicality of this abuse. This is an ongoing problem. This is what the subject deals with daily."

Moyin Saka, 20