From the first frame, She’s the He stakes its claim among modern coming-of-age comedies by pairing riotous energy with an incisive look at gender performance. Two high-school outsiders—Alex and Ethan—hatch a scheme to dodge their “loser” reputations by announcing they’re trans girls, a gambit that quickly morphs into genuine self-recognition. Director Siobhan McCarthy, in a striking first feature, surrounds this premise with a cast and crew drawn predominantly from trans and nonbinary communities, granting the film an authenticity that reverberates beneath its whip-smart humor.
Visually, the movie pulses with kinetic editing and playful on-screen animations—words scrawl across classroom walls, bursts of color punctuate moments of revelation—while quieter scenes linger on close-ups that reveal unspoken doubt and dawning confidence. Dialogue snaps with satirical barbs aimed at anti-trans rhetoric, yet it never eclipses the tender portrayal of friendship and personal discovery.
By threading comic mayhem through a heartfelt exploration of identity, She’s the He stakes its place as both a breath of fresh air in teen comedy and a timely reflection on how young people define themselves amid cultural tumult. This film arrives at a moment when conversations about gender demand nuance, offering an invitation to view transformation not as a gimmick but as a profound act of self-affirmation.
Rhythms of Reinvention
The engine of She’s the He revs into motion with a single, audacious choice: two misfits announce they’re trans girls to slip into the girls’ locker room. That gambit, equal parts prank and protest, launches a narrative that pivots sharply when Ethan’s half-formed ruse crystallizes into genuine self-recognition. From that midpoint turn, the film shifts gears—what began as a mischievous plot becomes an intimate odyssey of identity.
Momentum surges through brisk montages—hallway hijinks, locker-room reveals, late-night styling sessions—all stitched together by punchy editing that echoes the protagonists’ nervous excitement. Yet the director carves out breathing room: a lingering shot on Ethan’s eyes as new confidence dawns, a quiet exchange in a family kitchen where unsaid tensions simmer. That interplay between high-velocity comedy and reflective pause sustains interest, ensuring the emotional stakes never buckle beneath the film’s exuberant pace.
Humor here is more than decoration. Satirical thrusts at anti-trans legislation and hierarchies of teenage coolness propel characters into fresh confrontations, each gag a stepping-stone in their evolution. Visual flourishes—cartoonish doodles splashed over reality, exaggerated sound cues—function as shorthand for inner turmoil and triumph. When a protest sign morphs into an on-screen splash of color, it signals both mockery of fearmongering and solidarity with those it targets.
At just eighty-two minutes, the runtime refuses fat; subplots must earn their space. Alex’s struggle with masculine expectations flickers through concise vignettes, while Ethan’s fraught exchanges with her mother carry weight without overstaying their welcome. That brisk span leaves certain tangents lightly sketched, but it also hones the film’s focus, directing attention to the transformation at its core. Each beat, whether comic or contemplative, presses forward, underscoring how swiftly self-discovery can unfold when pretense yields to truth.
The Alchemy of Form and Voice
Siobhan McCarthy choreographs She’s the He with a bold stylistic hand. Animation overlays dance across live-action frames, words spring from locker-room walls in playful bursts, and onomatopoeic text punctuates pivotal moments—each flourish blurs the line between memory and fantasy. That “elevated reality” sits in tension with raw performances: actors ground each scene in emotional truth even as vibrant graphics whirl around them.
The screenplay crackles with dialogue that can skewer prejudice one moment and reveal vulnerability the next. Characters trade barbed quips about locker-room politics, then slip into hushed confessionals that carry real weight. McCarthy’s script trusts the audience to grasp its gender-bending premise without didactic setups: Alex and Ethan’s transformation unfolds organically, with no need for heavy exposition.
Yet some threads ache for fuller integration. Satirical barbs at conservative panic sometimes bookend scenes instead of weaving throughout, leaving comic critiques feeling episodic rather than central. The subplot about anti-trans backlash—ripe for sharper interrogation—registers in quick stabs but rarely deepens beyond a few choice lines.
Still, the film stands at an intriguing crossroads of teen sex-comedy and heartfelt identity tale. Familiar tropes—locker-room shenanigans, ill-conceived schemes, rites of passage—pair with daring social satire. It honors the raucous spirit of Superbad or Bottoms even as it bends genre expectations, asking what happens when a prank becomes the catalyst for genuine transformation. Through that alchemy of form and voice, the movie stakes a bold claim on what teen comedy can become when it meets a question of self.
Embodied Transformations
In the film’s center, Misha Osherovich carries Ethan’s evolution with graceful restraint. Early scenes capture a hesitant accomplice whose tentative smiles give way to moments of luminous clarity—eyes widening in quiet revelation, posture easing as self-acceptance takes root. Each silent beat speaks volumes, turning stillness into a canvas for genuine metamorphosis.
Across from her, Nico Carney’s Alex pivots from brash jester to conflicted ally. Initially defined by buffoonish swagger and locker-room bravado, his performance steadily peels back layers of learned aggression. A flinch at his father’s disapproving gaze reveals anxieties tethered to masculine expectations. Over time, Carney harnesses his comic agility to reveal an earnest search for authenticity, transforming shallow parody into nuanced empathy.
The supporting cast infuses the story with rich textures of solidarity. Malia Pyles’s Sasha moves with effortless warmth, guiding Ethan through makeup tutorials and wardrobe flights of fancy, modeling the power of chosen community. Tatiana Ringsby’s Forest anchors the film in nonbinary visibility, offering moments of quiet counsel that resonate with unspoken understanding. Mark Indelicato’s Davis emerges as a spirited mentor, his playful jabs softening as he imparts lessons about friendship and resilience.
Family dynamics sharpen the stakes. Suzanne Cryer portrays Ethan’s mother with steady, conflicting currents—maternal concern laced with discomfort, each domestic scene charged with unvoiced tension. In Alex’s world, paternal influence looms large: an offhand comment about “real men” carries the weight of inherited standards. Through these contrasting relationships, the film charts how acceptance must be won in both public and private spheres, underscoring the intricate ties between personal truth and familial bonds.
A Canvas of Color and Sound
Bethany Michalski’s lens often hovers close, transforming hushed confidences into cinematic whispers. In scenes where Ethan experiments with makeup under locker-room lights, the camera lingers on subtle shifts in expression, each frame calibrated to capture vulnerability without intrusion. Michalski alternates between warm amber hues—glowing during moments of kinship—and cooler, desaturated tones that underscore tension when characters confront prejudice or self-doubt.
Isabella Monge’s production design amplifies these emotional currents through playful staging. The girls’ locker room feels part sanctuary, part stage set, its pastel lockers and scattered costumes evoking both innocence and performance. Ethan’s bedroom, strewn with sketches and trinkets, becomes a private atelier where identity takes shape. Leah Morrison’s outfits trace this transformation in real time: muted tees give way to bold patterns and flowing silhouettes, each wardrobe choice mirroring its wearer’s unfolding self.
Editing choices sharpen the film’s comic edge: whip pans segue into slapstick cutaways, while bursts of on-screen doodles annotate inner thoughts—speech bubbles that bloom with each revelation. Sound design knits the visual quirkiness together, a beat-driven score thumping with youthful exuberance, punctuated by exaggerated whooshes and pops whenever a new idea or emotion breaks through. The result is a tightly woven sensory tapestry, where every sight and sound advances the story of becoming.
Performance, Politics, and Belonging
In She’s the He, gender unfolds as a malleable script rather than a fixed decree. Within this high school microcosm, fluid identities thread through everyday interactions: hallways where pronouns shift as effortlessly as lunch trays, locker-room rituals that double as rites of passage. That environment recalls Shakespeare’s cross-dressing comedies, where disguise sparks revelation—here, the masquerade to access the girls’ space becomes the crucible for genuine self-recognition.
Satire sharpens the film’s edges, skewering anti-trans panic with gleeful precision. Bathroom bill parodies pop up in student protests, mock news bulletins flicker on screens, and conservative talking points crumble under the force of irreverent humor. Yet these jabs serve a purpose beyond laughter: they expose how prejudice can be weaponized, how paranoia about bodies translates into legislation that marginalizes real lives.
The coming-out arc sidesteps spectacle and violence, opting instead for communal uplift. Ethan’s acceptance never hinges on a single dramatic confrontation. Instead, solace emerges in shared moments—an experimental makeup session, a whispered confession in a dim hallway, a supportive text from a new friend. That solidarity contrasts sharply with family scenes, where maternal discomfort collides with unconditional love. Here, acceptance wrestles with generational divides, revealing that self-affirmation often requires renegotiating inherited bonds.
Central to this network of alliances is the fraught terrain of trust. Alex’s confession—that the trans reveal began as a prank—cuts deep, unraveling friendships in a moment. Yet reconciliation follows, not through contrived epiphanies, but through acts of empathy: standing together in a public demonstration, lending an understanding ear, honoring boundaries crossed. In these gestures, the film frames chosen family as the ultimate haven, suggesting that belonging transcends bloodlines and finds its greatest strength in mutual respect.
Harmonic Cadence and Cut
An eclectic indie soundtrack threads through She’s the He, pulsing beneath locker-room montages with upbeat guitar riffs and cresting during house-party sequences with layered vocals that feel both intimate and communal. When characters push open bathroom doors, a soft chime heralds each entrance—an audio motif that transforms mundane thresholds into charged spaces.
Editing acts as a rhythmic partner to the music. Match cuts align a swirling mascara brush to a spin on the dance floor, turning visual jokes into seamless transitions. Rapid-fire cuts propel the comedy in group scenes, while lingering takes on Ethan’s reflection grant emotional depth when the score recedes.
Diegetic tracks—songs that characters play on speakers or hum along to—ground the film in its adolescent milieu, while nondiegetic cues swell to underscore moments of revelation. Through subtle mix shifts, dialogue in quiet confessions rises above ambient noise, ensuring each whispered admission rings clear against the film’s vibrant soundscape.
Notes for Articulating Discovery
This review should trace how She’s the He balances buoyant humor with genuine emotional stakes. Maintain a voice that pairs clear-eyed analysis with a welcoming cadence, so readers feel invited into each observation.
Emphasize three through-lines: the characters’ unfolding identities, the film’s portrait of solidarity, and its satirical critique of cultural backlash. When referencing scenes, ground insights in vivid detail—describe the locker-room montage’s color shifts or the texture of a whispered confession—so commentary remains anchored in the film itself.
Seek rhythm by alternating concise plot notes with deeper thematic commentary. A paragraph might open with action—Alex’s prank in full swing—then pivot to a reflection on how that setup reveals social expectations. Keep transitions smooth, letting a specific moment yield broader implication without heavy-handed shifts.
Full Credits
Director: Siobhan McCarthy
Writer: Siobhan McCarthy
Producers: Halley Albert, Vic Brandt, Clementine Dunnell
Executive Producers: Vic Brandt, Shuli Harel
Cast: Misha Osherovich (Ethan), Nico Carney (Alex), Suzanne Cryer, Mark Indelicato, Malia Pyles, Emmett Preciado, Tatiana Ringsby, Aparna Nancherla, Kyle Butenhoff, Emma Orr
Director of Photography (Cinematographer): Bethany Michalski
Editor: Will Geare
Composer: Nolan McCarthy
The Review
She’s The He
She’s the He sparkles with mischievous wit yet never loses sight of its emotional core. McCarthy’s vibrant direction, paired with Osherovich’s quietly powerful performance, turns a prank into a profound journey of self-recognition. Sharp satire of anti-trans panic coexists with moments of genuine solidarity, crafting a film that entertains while challenging assumptions about identity and belonging. Its brisk pacing leaves just enough space for heartfelt beats to land.
PROS
- Vibrant editing and playful animation that externalize inner emotions
- Misha Osherovich’s nuanced portrayal of Ethan’s awakening
- Satirical edge skewering anti-trans legislation with wit
- Warm depiction of friendship and chosen family
- Lean 82-minute runtime maintains brisk momentum
CONS
- Satirical threads occasionally feel compartmentalized
- Conservative backlash subplot could use deeper focus
- Alex’s masculinity arc sketched more than fully drawn out
- Visual flourishes sometimes distract from quieter moments
- Secondary characters receive limited screen time
