Metamorphosis (Jose Enrique Tiglao, 2019)

“Everyone has a secret, but not all secrets are bad” according to Angel (Iana Bernardez), a sex worker and 24-year-old returnee to high school who befriends the lonely Adam (Gold Azeron) as he contends with an adolescence more challenging than most. Exploring the often underrepresented theme of intersexuality, Jose Enrique Tiglao’s Metamorphosis follows its conflicted hero as he struggles to come to an acceptance of who he is and wants to be while faced with the sometimes old fashioned, conservative attitudes of those around him. 

14-year-old Adam is already something of an outcast at school, often getting into fights with one particular boy who who keeps making a point of throwing homophobic slurs at him during class which go completely unchallenged either by the teacher or fellow pupils. Adam gives as good as he gets, but remains very much on the margins, until that is a beautiful young woman transfers into his class and ends up working with him on a class project because as usual no one else wanted to work with him. Somewhat strangely, Angel is 24 years old but in a regular high school class with a bunch of 14 year olds, which is a definite incongruity, but quickly becomes friends with Adam who offers to show her some of the local sites including a picturesque swimming hole. It’s during their outing that Adam discovers a change in his physique – he has begun to menstruate.

Adam and his family have always known that he was intersex though he has been raised as a boy which, for the moment, is what he most closely identifies as. The fact that he has started to menstruate forces him to engage on a deeper level with a sense of identity, struggling to accept the intrusion of this new and definitely female element of his physical body while also embracing his nascent sexuality. It’s Angel, making a somewhat age inappropriate attempt at seduction, who becomes Adam’s first ally, affirming that there isn’t anything wrong with him and suggesting that he reframe his perspective and think of himself as someone who is both rather than neither. 

That’s easier said than done, however, seeing as Adam comes from a conservative home with a father who is a pastor giving sermons about how God created male and female in his own image. Obviously concerned for their son’s health, Adam’s parents consult their family doctor who directs them to a specialist in Manila. Dr. Abraham (Ivan Padilla) is sympathetic, but also perhaps too definitive in immediately trying to offer reassurance with “we can fix this” as if Adam is in someway broken and in need of repair. That idea continues to present a problem when it is discovered that he has a functioning womb and vagina, leading the doctor and Adam’s father to conclude that he is more female than male and should therefore have his maleness removed. Nobody really tries to talk to Adam about this. Dr. Abraham tells him that he needs to be “ready” and also that he has to want this himself, but doesn’t make much of an effort to listen to him, telling him only that “the things that are not needed we will remove”. 

Adam’s father immediately starts referring to him as his daughter and makes arrangements for the surgery without explaining to Adam what exactly will be happening to him. He also suggests selling their mango farm and moving to another town where no one will know them as if Adam is some kind of dirty secret. Meanwhile Adam has begun to explore his sexuality, attracted both to the handsome Dr. Abraham, and the supportive Angel, uncertain if he should be feeling any contradiction between the two. People seem to be telling him that he needs to conform to being only one thing, negating both his own ability to choose and the right not to. Only the family doctor points out that many families in other countries have regretted forcing premature confirmation surgeries on children who later came to resent them, and that whatever happens should be up to Adam to decide, forcing a reconsideration on the part of Adam’s mother who realises her husband has been keeping valuable information from her regarding her son’s health. 

Ultimately, however, Metamorphosis offers a strong message of acceptance as Adam begins to embrace himself as he is rather than conform to a false binary gender identity.  “I only want one thing” he tells Dr. Abraham, “to be happy”. Adam gains the courage to be completely himself, emphasising that intersex identities are not broken or corrupted but beautiful in themselves, while making it plain that if others cannot learn to step outside of socially conservative norms of gender and sexuality then it is they who need to change.


Metamorphosis was screened as part of this year’s Osaka Asian Film Festival.

Original trailer (English subtitles)