Trans Embodiment, Aging, and the Heterotopia of Domestic Space: Reimagining Kinship and Futurity in For Nonna Anna and Wild Side

This article engages with the domestic space in two contemporary transgender narratives, For Nonna Anna (2017) and Wild Side (2004). Building on Michel Foucault’s concept of heterotopia, it argues that these films highlight the domestic sphere as a site of both cultural tradition and queer potential. Contrasting the frequent focus in queer cinema on gay male cruising and public encounters, this essay pivots to the home environment, demonstrating how religious iconography, inherited furnishings, and daily rituals become charged with intergenerational memory and transformative possibilities. Through an analysis of mirror scenes, informed by Foucault’s claim that mirrors act as both utopias and heterotopias, this paper reveals how trans protagonists simultaneously reflect and disrupt normative temporalities. Christina’s relationship with her aging Nonna, for instance, foregrounds reciprocal vulnerability, while Stéphanie in Wild Side fuses past and present by navigating chosen kinship with her mother and lovers. Bringing the work of Sarah Ahmed, Jack Halberstam, Cynthia Port, and Alison Kafer into conversation with Foucault, this essay contends that trans bodies and elderly figures share a marginal relationship to linear futurity, suggesting alternative modes of care and intimacy. By centering aging and trans bodies, the films challenge Lee Edelman’s “no future” paradigm, proposing instead a queer futurity aligned with José Muñoz’s utopian hermeneutics. Far from being mere backdrops, homes in these films operate as heterotopic refuges that accommodate non-normative practices of embodiment, kinship, and care, reimagining the family dwelling as a horizon of queer futurity. In doing so, they offer insight into how domestic environments can reshape cinematic explorations of transness, aging, care, and kinship.