XXY (2007)

XXY is special because it treats a subject most films either sensationalize or sanitize with rare calm, intelligence, and human-scale tenderness, letting you sit with uncertainty instead of rushing to label it. Lucía Puenzo sets the story on a windswept Uruguayan coast that feels both beautiful and exposed, and in that raw atmosphere Inés Efrón gives a quietly fearless performance—watchful, defiant, and achingly young—as Alex navigates desire, shame, and the pressure of other people’s “solutions.” The film’s power comes from its restraint: it doesn’t preach, it observes, and the emotional tremors in the family and the visiting strangers do the talking. It isn’t for everyone—there’s sexual content and a disturbing assault scene—but if you can handle its maturity, it’s an unusually compassionate coming-of-age drama that lingers because it respects its characters enough to let them remain complicated.

XXY is clearly trying to treat intersex identity and teenage self-determination with seriousness and empathy, and it deserves credit for approaching the subject without turning it into a cheap “issue movie.” That said, the storytelling can feel deliberately muted to the point of damp, with long stretches where the drama seems to hover rather than land, and some viewers will find the exploration frustratingly limited given how big the themes are. The intimacy and assault-related material is handled in a matter-of-fact way, but it’s still intense and could be a dealbreaker if you’re not up for sexually charged, uncomfortable coming-of-age moments. If you like quiet, ambiguous character studies with strong performances and don’t need catharsis or clear answers, it may work; if you want a sharper, more expansive take or a more propulsive narrative, you’ll likely come away underwhelmed.