Slamdance 2025 – Larry (They/Them) is an interesting study in contrasts. At once intimate and universal, the doc explores the Trans/Non-binary experience via photographer and artist Laurence Philomène‘s life as a transitioning non-binary artist in Montreal, Canada. We witness Philomène‘s artistic journey in producing their latest collection of photographic works. But as we tag along with the subject, we see a simple world blossom into myriad perspectives.  Director Catherine Legault keeps an honest, unfiltered perspective to capture Philomène‘s growth as an artist and a voice for their community as their loved ones and the world around them struggle to awaken in a more accepting, prismatic world.

The film opens with a clear profile of Philomène, their non-binary partner Nina Drew, and Philomène‘s close friend Lucky Dykstra-Santos. All three were born female and none of them cling to a particular gender identity. Philomène helps Santos with the regular testosterone injections, while Drew uses art as therapy to navigate their complicated journey. Philomène, is producing new photographic art for an upcoming book entitled “Puberty.” The collection of pictures captures the very intimate, colorful journey of hormone therapy and living in a world that seems only to know black or white.

As the A-plot moves along Legault turns the camera on the people around Philomène who are forced to confront their sorted interpretation of the world. Some of the most beautiful moments come from the raw discussions between Philomène and their mother who laments not detecting that they were different. It becomes clear that the mourning is not for whoPhilomène is, but what Philomène‘s mother expected them to be. Philomène‘s father muses to the camera that a person would always want to believe they would be accepting and embrace diversity. It becomes a different issue when it happens in your own home. These are wonderfully honest points that make us look inward.

Philomène‘s book is published and soon after a gallery showing happens in Canada. We have the public exhibition of  a private journey. Again, the contrasts. Philomène demands to share these private moments with the world. Why? Is it art? Is it activism? Is it both? As Philomène and Drew travel into New York City for another exhibition they are both vigilant in the rapidly changing landscape of an increasingly right-wing United States. After celebrating a night of inclusivity and fluidity, Philomène and Drew make it down to street level where the public is reacting to the overturning of Roe Vs. Wade. It’s a poignant moment, and a frightening one at that.

Larry (They/Them) does run a bit long. As comprehensive as the film is in capturing the quieter moments, this is a lovely profile. Still, I would argue that some stretches could have been dropped. This isn’t to say they were boring, but did we really need to know so much about Santos and why they have an aversion to self-injection? It informed the doc, no question. But it didn’t exactly move things along.

Legault delivers a heartfelt depiction of the human experience within the non-binary community. We learn to see the world and others not in stark tones of black or white, but in an eye-popping, vibrant color replete with tonal variations.