Abstract

In this article, I analyse how gender identity is represented and constructed in Kimberly Peirce’s Boys Don’t Cry, Sally Potter’s Orlando, and Sebastian Leilo’s Una Mujer Fantástica. Taking from Muñoz’s theories of queer futurity and performance, I argue that the focus on the singing voice displayed in Orlando and Una MujerFantástica, particularly when it comes to transgender and/or gender-bending characters, indeed constitute a powerful representation of queer futurity, in its never tangible performance of queer world-making that takes away the focus from the physical body and its concrete reality.