Ben and Aude have been together six years. They’ve been through a lot, a LOT, and come out stronger together. But when Aude learns she can’t have kids, it’s a devastating blow. She tells Ben to leave her. He deserves to have a family, to be happy, to be with someone who can give him what he wants. Ben doesn’t even consider that an option. In fact, he’s’ willing to try something quite drastic in order to make their dreams of a family come true. He’s willing to carry the baby himself.
It’s not an option that most men have but Ben is trans, pre-op. It is technically possible but it’s going to be emotionally and psychologically punishing. First, he’ll have to delay the surgery that’s going to make him feel whole and right in his skin. Then he’ll have to stop the testosterone, risking the masculine characteristics he’s gained and inviting the return of some feminine ones. He’s battled depression before, and Aude is so worry that his mental health won’t stand up to this test. Not to mention the fact that they’ve just moved to this small town where they hope they are blending in more anonymously. Still, they live in fear. Something as simple as having to show ID could out Ben to the entire town. Having a pregnant belly is going to be a pretty big tell. So you can imagine how committed he is to his relationship and their parenthood that he still goes through with it.
Will Ben’s mind transform at the same rate that his body does? Will his secret be safe? Will he receive adequate and appropriate medical care? This movie bites off an awful lot and really spends its time chewing. These are very complicated and sensitive issues and as carefully as they’ve considered everything, they haven’t possibly considered everything. And as most parents will tell you, pregnancies don’t just transform bodies and spare bedrooms, they change the couple as well.
As Aude, Soko navigates the highs and the lows very well. She allows the character’s arc to inform her performance and manages a delicate balance including longing and fear, hope and rejection, awe and anger. As Ben, Noémie Merlant has an even taller order and few sources to draw on for inspiration. But you can tell she discovers the character at his core. She has respect for his unique experience, his fervour and his courage. But as good as she is, it still feels a little wrong that this part didn’t go to a trans actor. This is a very specific experience and not only would it be better explored by someone who can authentically relate, it feels especially important to get more trans men in front of the camera and in the media generally. Like every industry, the movie industry commodifies women – the younger and the more beautiful the better – Laverne Cox, Trace Lysette, Jen Richards. Trans men are much less visible and their stories less often told.
A Good Man is both a beautiful movie and a missed opportunity.