Before I saw 'Walk for Me,' I knew absolutely nothing about New York City's LGBTQ ball culture. On voguing I knew just as little—though certainly I came across the ubiquitous imagery and movement, I didn't know the history, or, indeed, the artistry behind it—and I am certainly glad that this wonderful, heartening short film was my introduction. Running a little over ten minutes, 'Walk for Me' gives us a glimpse into the spectacular, elaborate world of LGBTQ voguing in New York City.
Aaliyah King is fantastic as Hanna, a new performer to the voguing scene. In the morning, we meet Hanna's mother, Andrea, who is still unaware of Hanna's identity. At night, we meet Hanna's house mother, Paris Continental (what an incredible name), who comes to the front door of the ball's venue to let her in. It is through Hanna's eyes that we experience this fascinating shift from the conventional, restrictive world, to a radical, emancipative one.
Speaking of Hanna's eyes—writer-director Elegance Bratton makes the most out of Hanna's gaze as it soaks up the new reality around her: occasionally apprehensive, frequently curious, but always absorbing, adapting. As an audience, we are learning at the same time Hanna is—which makes this outward exploration of her identity that much more meaningful and intimate.
The night wears on, and Andrea walks into Hanna's night life—the reason she ends up there is, in my opinion, one of the film's best moments among many. While the film is about freedom to express gender freely, passionately, vibrantly, in a safe space that people—transpersons particularly—can claim entirely their own, 'Walk for Me' is, at the core, about relationships: the bond of a mother (biological or otherwise) and daughter. The nature of that bond allows us to continue evolving, individually and together, and dares us to continue to love the other, to walk for the other, wherever they may choose to go.
Aaliyah King is fantastic as Hanna, a new performer to the voguing scene. In the morning, we meet Hanna's mother, Andrea, who is still unaware of Hanna's identity. At night, we meet Hanna's house mother, Paris Continental (what an incredible name), who comes to the front door of the ball's venue to let her in. It is through Hanna's eyes that we experience this fascinating shift from the conventional, restrictive world, to a radical, emancipative one.
Speaking of Hanna's eyes—writer-director Elegance Bratton makes the most out of Hanna's gaze as it soaks up the new reality around her: occasionally apprehensive, frequently curious, but always absorbing, adapting. As an audience, we are learning at the same time Hanna is—which makes this outward exploration of her identity that much more meaningful and intimate.
The night wears on, and Andrea walks into Hanna's night life—the reason she ends up there is, in my opinion, one of the film's best moments among many. While the film is about freedom to express gender freely, passionately, vibrantly, in a safe space that people—transpersons particularly—can claim entirely their own, 'Walk for Me' is, at the core, about relationships: the bond of a mother (biological or otherwise) and daughter. The nature of that bond allows us to continue evolving, individually and together, and dares us to continue to love the other, to walk for the other, wherever they may choose to go.
