
In this month’s Low Culture Essay, Natalie Marlin explores how a under-regarded soundtrack became part of understanding her evolving trans identity
Hanna does not live with music to guide her, at least at first. Her life is scored solely by the openness of the tundra, the crackling of fire. The stillness of open air, of onyx-drenched night. A dwelling shared only with her father, far from any others, from any chatter or clamour. No incandescent hums or white noise whirrs or industrial thrums to speak of. Hanna will not find music here, not until the world beyond this one encroaches. Not until she finds her tune beyond the silence she has known.
It’s a curious start for a film scored by one…
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