Crossing – An Increasingly Reflective Drama

Crossing, the latest film by Levan Akin (And Then We Crossed), sees him embark us on a journey of consequences. He tells the story of Lia (Mzia Arabuli), a retired history teacher looking for her niece, Tekla (Tako Kurdovanidze), a trans woman displaced from the village for being who she truly is. After losing her sister, Lia crossed the Georgian-Turkish border to look for her, from Batumi to Istanbul. Promising her sister to bring Tekla home, Achi (Kankava), whose brother was her student, embarked with her on this journey to find a job and his mother.

Structure wise, the film is a constant search. Lia and Achi chase the missing link of their families, purpose, love, and identity. Then, Akin adds a third element to the puzzle: Evrim (Deniz Dumanli), a trans lawyer who advocates for community rights in Istanbul. She would prove to be an integral part of the film, contrasting the prejudices present in society and the fight for recognition of those bodies. A memorable scene features Evrim as she goes to the doctor for medical authorization to change her legal name and status. While it was merely a small demonstration within the overall narrative, it nevertheless marked an important milestone for Evrim to have her right to be recognized.

In a sense, Lia’s quest is also the one to find herself. A woman with no family left, she found herself lost with retirement and full of internal conflicts with her attitude toward the only blood-related person. Behind a bitter personality, laid plenty of guilt for failing Tekla and not properly accepting her. Arabuli’s performance delivers everything Lia needed. As a middle-aged woman with conservative principles is reluctant to tolerate that the world is changing, she has not reflected on how those values drove away someone she loves. Amidst a hurt woman, there was still a caring and loving person. Arabuli transmits that fact through her body language and eyes.

As a director, Akin is successful in how he displays his characters within the immense city of Istanbul. Lia and Achi have no clue where Tekla is, but the crossing with the trans women’s street, where they live, and organizing their community, gives the film a sense of cohesion. That being said, the film’s pace and rhythm, at times, make it look disorganized and lost in its concept in moments. Even though Achi feels misplaced in some situations, when the three of them are on screen together, there is a visible power dynamic there. Their subplots and the subsequent crossroads they faced were compelling to watch and are sure to pull audiences in.

Crossing is subtle and delicate in its approach to its trans characters. Akin plausibly writes them, and they have the kind of narrative weight that delivers an engaging arc. Audiences want to know about Evrim’s advocacy work, her love encounter with an informal taxi driver, and how she provides for her friends. It is a joy when Dumanli is on the screen. The film does not try to lecture about the cause as her actions demonstrate everything Lia and the public need to know.

In the end, Crossing is a film that grows in reflection, where its crossroads premise and well-written characters make for an emotional watch. While Lia deconstructs her prejudice, audiences meet a couple of incredible people along the way. They will leave many reflecting, enjoy their journeys, and thinking about how society has failed the trans community. All in all, a powerful film.

still courtesy of Mubi

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Pedro Lima

Brazilian film writer. He is also a producer and executive producer for Zariah Filmes. Member of the International Film Society Critics Association (IFSCA), International Documentary Association (IDA), and Gotham and Media Film Institute.