SUNNY BUNNY started at the Molodist Film Festival, where it presented new and classic LGBTQIA+ films. The special programme has existed at the festival since 2001. So Molodist was the second one among the major international non-specialized festivals (after Berlinale and Teddy) that introduced a special award and made a dedicated programme for these films. Now it’s time for it to expand to become its own festival which will, at the same time, maintain its connection to Molodist. The event will emphasise the community’s visibility and the importance of queer stories, narratives and views in cinema and culture and, of course, the importance of human rights, especially for LGBTQIA+ people.
So it is very appropriate that the SUNNY BUNNY festival will present a film in the programme of the Docudays UA Human Rights Festival. We chose Kokomo City for this, an incredibly bright (despite its contrast black-and-white palette) film by the director D. Smith, who is making her debut. The film is based on candid interviews with four Black trans women sex workers. It may seem like a standard American narrative film with “talking heads,” but don’t be deceived by its seeming simplicity. It’s an inventive film, even innovative in some respects. The striking and dynamic music which reflects the rhythm and editing of the film reminds us of the fact that its creator used to be a successful music performer and producer who worked, among other celebrities, with Katy Perry and Lil Wayne. However, her career in this business ended when she transitioned. So Smith addresses the subject of sex work, since many trans women, especially Black women, have to go into it due to ubiquitous bias and stereotypes against them. The filmmaker finds very interesting answers among the film’s characters who live in Atlanta and New York. The questions are often uncomfortable, and the answers even more so. Neither the characters nor the film itself hold back in their stories which will make you laugh, feel scared, shocked, but they will also teach the audience.
Despite the entertaining dynamic tone, Kokomo City is unapologetic and radical, it does not do political correctness or aim to please anyone. Instead, it talks about the characters’ worldviews frankly, sometimes blatantly, but very honestly, dissecting masculinity, race issues, gender norms and traditional values. And, of course, sexual relations and sex work. You will want to Shazam the entire soundtrack and constantly quote the film. But don’t forget to be open to the characters’ stories and hear what they emphasise.
