Synopsis

Over a black screen, we hear the sound of a woman crying.

We open on the face of Stella, a 35-year-old trans woman looking directly into the camera, practicing an Ahegao face, a sexually provocative expression from Hentai pornography. We pull back to see her practicing in the bathroom mirror. The crying sounds are not from a sad woman but from a video of a woman putting on this face as she is being penetrated in a porno that’s playing on her phone.

As the evening sets in, Stella video chats with a client, performing various roles and sexual expressions to meet her client's desires. This includes adopting anime-inspired expressions and role-playing, reflecting her detachment from reality and commitment to her profession.

Stella, disguised in a long coat and big sunglasses, experiences a setback at a drugstore when her money is identified as counterfeit. This leads to a confrontation with the cashier and the tearing of the bill.

Stella prepares for her work as an escort, using an app to screen a client’s phone number. She interacts with an Uber driver, implying she is visiting her fiancé, who fights in the UFC.

The rest of the introduction sequence alternates between Stella's mandatory transition support counseling session and her encounter with a client. During the counseling session, Stella discusses her struggles with self-acceptance, societal pressures, and her occupation as a sex worker. She expresses feelings of hopelessness and being trapped in a cycle of objectification and self-degradation.

In the contrasting sequence, Stella engages in a sexual encounter with a client. The encounter becomes tense and uncomfortable, leading to the client violently confronting Stella over her service, accusing her of false advertising and demanding his money back. The situation escalates into physical violence, with Stella defending herself with pepper spray before being struck by the client.

The sequence of events culminates in Stella reflecting on her life choices and circumstances, pondering why she can't be accepted like a woman she sees on a billboard, embodying an ideal of femininity and acceptance.

We cut to a Title Card.

We arrive back with Stella at a gun store. Stella is searching for a self-defense weapon. Bob, the store owner, recommends various firearms for Stella’s consideration. After a few choices, Stella chooses a Smith & Wesson revolver, which is the most reliable and employs the best aesthetics. Throughout this scene, there is subtext that Stella may be making her choice based on what gun would be the most effective for committing suicide.

Under the guidance of a gun trainer, Stella practices shooting with her newly acquired gun. The scene ends with her looking at the used silhouette target in the shape of a man’s body, demonstrating poor accuracy, as the bullets surround the body silhouette. This is a metaphor for Stella’s defenses being ineffective at protecting herself from men.

We cut back in time to 1990 when Stella was born as Samuel. We see through Samuel's distorted POV as an infant, being lovingly interacted with by his mother while his father watches. This sets the stage for the contrasting parenting styles in Samuel's life.

By 1992, the same POV shows a young Samuel observing his father meticulously practicing the cello, hinting at a cultured yet rigid home environment. In 1993, we see his parents encouraging his first attempts at walking, highlighting a typical nurturing family setting.

In 1996, the narrative shifts to show Samuel, now 7 years old and effeminate, playing roughly with his friends. This section includes scenes of childhood mischief, subtle hints of sexual abuse that happen in a local adult film theater, and moments that show that Samuel exhibits a less competitive nature than his peers. A significant part of this sequence is set in Samuel's home, where his interactions with his parents are depicted. These interactions reveal a household with high expectations and strict discipline, particularly from his father. His father emphasizes hard work and grit, while his mother advocates for love and acceptance, indicating a conflict between their parenting approaches.

The sequence takes a darker turn, with Samuel witnessing his parents' volatile relationship, marked by arguments and physical violence. This tumultuous family life juxtaposes Samuel's struggles, including his father's harsh discipline and high expectations of excellence.

The sequence culminates in a tense altercation between Samuel's parents, where his mother accuses his father of being a "weak man hiding from his truth," leading to a physical confrontation. The larger flashback sequence portrays Samuel’s reality as immersed only in the absolute worst parts of masculine invention.

We cut back to Stella, who is visiting her mother in her apartment, where she is in hospice care for cancer. The atmosphere is tense, with her mother showing independence and frailty. She insists on smoking a cigarette and discusses a new shopping mall, a low-level manipulation tactic to get Stella to return home so she can live out her years in her natural setting. The conversation shifts to Stella's personal life, with her mother suggesting that Stella reconnect with their hometown and mentioning a potential suitor, which Stella dismisses, citing her lack of work opportunities as an escort. The dialogue intensifies as Stella's mother bluntly refers to Stella as a prostitute, to which Stella corrects her, emphasizing the distinction between a prostitute and an escort. Their conversation reveals underlying tension and unaddressed issues, particularly regarding Stella's father, who had been abusive. The mother's defensive stance on the past, accepting it rather than fighting it, and Stella's blunt acknowledgment create a complex dynamic between them. Stella defends her profession, stating that it funds her mother's care, to which her mother responds dismissively, expressing a desire to be independent. The tension escalates when Stella's mother mentions her deceased husband, leading to an uncomfortable exchange that ends with Stella leaving after a brief, emotion-laden goodbye.

Stella returns to her Motel room to find she is locked out because she’s been there for 29 days, and 30 days would give her tenant rights. She sits down on the curb, defeated, and lights a cigarette.

Stella stays the night at her friend Al’s house. Al is a flamboyant gay man happily married to another man. Al advises Stella on financial planning and expresses concern for her future. This interaction contrasts her earlier conversation with her mother, showing a more understanding and less judgmental perspective on Stella's life choices. While grateful, Stella fights the uncomfortable thought that her life may have been better if she had never transitioned and, instead, lived as a gay man. The scene ends with Stella reflecting on her situation, indicating her internal conflict and the complexities of her relationships and lifestyle.

We cut back to Samuel’s childhood and his challenges regarding masculinity and acceptance. We open with Samuel and his friends, aged 11, moshing to 90s alternative rock music in a park. Samuel struggles to keep up with the physicality of the others, highlighting his inability to match their aggression.

Samuel and his friend Joe play video games. Joe mentions an adult game he saw on TV involving physical intimacy and suggests they try it. The conversation carries an undertone of exploring beyond childhood innocence. Joe leads Samuel to a closet to show him the game, but the scene cuts before revealing more, leaving the nature of the game ambiguous and potentially disturbing.

The scene shifts back to the park, where Samuel is physically and verbally abused by his friends for his effeminacy. Joe says that Samuel tried to kiss him. He is beaten and subjected to homophobic slurs, portraying the harsh bullying he endures.

At home, Samuel's father confronts him about his black eye. Samuel's silence suggests fear or shame, and his father's stern demeanor implies a lack of emotional support. Eventually, Samuel tells his father what happened. Samuel’s father takes him to Joe's house, where Joe is forced to apologize under his father's coercion. This shows an attempt at resolving the conflict but lacks genuine reconciliation.

Back home, Samuel's father tries to teach him how to fight, emphasizing traditional masculine traits. Samuel's inability to meet his father's expectations during the training further highlights their strained relationship.

Samuel's father shares his philosophy about life's dilemmas, suggesting that the best way to deal with unsolvable problems is to push through. This advice reflects the father's rigid and traditional mindset, contrasting Samuel's gentler nature. It also expresses subtext (reinforced later in the story) that Samuel’s father is repressing homosexual desires. Overall, these scenes depict Samuel's struggle with societal and familial expectations of masculinity, his experiences of bullying, and his complex relationship with his father, who imposes traditional masculine ideals.

We’re back in the current time and are presented with a sequence of scenes that provides an intimate glimpse into Stella's life as a sex worker, highlighting her routines, struggles, and fantasies. She showers, meticulously checking for facial stubble, and then shaves. This routine is followed by her administering hormone injections and taking pills, underlining the ongoing effort in her transition.

Stella scans her motel room, searching for potential hiding spots for her revolver, indicating the risks in her line of work. She practices scenarios of needing the weapon for self-defense. Stella spends her evening alone in the motel room, eating delivered food and watching the cigarette-lighting scene of the movie Malena on her phone. This solitary moment reflects her isolation and introduces the metaphor of supporting a destructive yet stimulating habit utilized throughout the movie.

A visit to the home store, set to upbeat 1950s Christmas music, contrasts her current life with a dream sequence where she imagines a more idyllic, domestic life. However, the dream takes a dark turn when it turns out to be centered around suicide, only to be revealed as a daydream.

We shift to the next day at her Pump Lady’s apartment, where there is a makeshift medical setup where Stella receives silicone injections from an unlicensed practitioner, highlighting the lengths she goes to for her physical appearance and the risks involved. Stella updates her profile on a dating app, categorizing herself as a “dominant top” and “incall only,” and prepares for her work as an escort by purchasing supplies from a sex store.

We move to an interaction with a client post-coitus, which showcases Stella’s professional facade. In a rare moment of weakness, Stella lets the conversation touch on personal and emotional aspects of her life, including the lack of prospects for a conventional happy ending in her line of work.

Stella returns to her motel, where she's unsettled by the sounds of sex from a neighboring room. She attempts to find solace in her own space, highlighting her ongoing struggle to find peace amidst her chaotic life.

We cut back to 2004 and find Samuel, a 15-year-old boy captivated by pop culture and television. In the background, muted cello music emanates from another room where his father is practicing. A collection of wind chimes dangling from the ceiling. Samuel's reflection shimmers in the chimes as he flips through various channels on the television. He stumbles upon the Times Square ball drop on New Year's Eve in 2004, showing that he is spending New Year's Eve alone. Meanwhile, in his father's room, we see the father engrossed in playing the cello, intensely focused on the sheet music before him. In Samuel's bedroom, his attention is drawn to a 1960s film, "NEVER ON SUNDAY," where Melina Mercouri performs for a room full of men, effortlessly capturing their attention. Samuel gradually increases the TV's volume until it completely drowns out the muted cello music from his father's practice, a metaphor for his value on the form of sexual expression from the film over the form of musical expression from his father.

Outside the house, Samuel takes out the garbage. On his way back to the house, he sees his father lighting his tobacco pipe. His father simply says, “Happy New Year, son,” to which Samuel replies, “Happy New Year,” showing the distance in their relationship and some minor hope things will change for the better.

Back in the current time, Stella is awoken by the unsettling sound of sex noises, prompting her to step outside for a cigarette. As she smokes, checking her phone with a dwindling battery, a woman dressed only in a fur coat emerges from a neighboring room. Her name is Jaide, and she is seeking light for her cigarette. Stella tosses her the lighter, and Jaide lets it drop to the ground, displaying a lack of gratitude.

Stella and Jaide lounge by the motel pool, sharing beers. The dialogue shifts to their shared profession in sex work, with Jaide inquiring about Stella's experience. Their exchange reveals Stella's years in the trade, and Jaide humorously notes Stella's apparent expertise. The conversation turns to the nature of their clientele, particularly those who are presumed to be "closeted straight men." Stella offers a nuanced perspective, suggesting that their clients' sexual interests don't strictly define their orientation.

Their talk is peppered with candidness and humor, with Jaide suggesting Stella could start a podcast based on her insights. The scene culminates with Jaide proposing an outing, leaving Stella in contemplation. This scene delves into themes of identity, sexuality, and societal norms, all within a candid and reflective dialogue between two women in the same line of work.

We cut to 2005. Samuel engages in a journey of self-exploration and expression within the confines of his bedroom. He searches for "Never On Sunday" on his Apple iMac G3, hinting at his interest in the film's themes. Samuel is shown sewing a dress from black fabric, revealing his creative and secretive endeavor. Weeks later, he receives a package of feminine care products.

In the privacy of his bathroom, Samuel applies makeup, albeit awkwardly, and dons the dress he created, accompanied by a red wig. This transformation is pivotal for him, as he admires his reflection, fully embodying a new persona that contrasts starkly with his everyday life.

However, this moment of self-acceptance is shattered when his father confronts him, holding the wig and women's clothing. In a heated exchange, his father accuses him of being sick for dressing as a woman, sparking an intense argument. His mother avoids taking sides. Samuel retaliates, accusing his father of hypocrisy and failing to provide for the family, leading to a tense standoff where physical violence is narrowly avoided.

Feeling alienated and misunderstood, Samuel decides to run away from his troubled home. He packs a bag and savings, indicating that this has been on his mind for some time. The scene ends with Samuel boarding a bus carrying his duffel bag, symbolizing the start of a new chapter in his life away from the stifling environment of his home.

Back to the current time, Stella and Jaide share an intimate and liberating night in their motel rooms, underscored by the emotive track "Warmth" by Peter Gregson. The atmosphere is one of freedom and self-expression. Stella meticulously applies her makeup, adding a striking red wig as a final touch, symbolizing her transformation and readiness for the night ahead. In Jaide's motel room, the two women engage in the playful act of trying on each other's outfits, a gesture of camaraderie and shared identity.

Their conversation drifts into the realms of sexual identity and preferences, with Jaide inquiring about terms like 'power bottom' and 'side,' to which Stella provides insightful explanations. This exchange reflects their comfort with each other and brings to light the diverse spectrum of sexual identities within the LGBTQ community and Stella’s conscious distance from it. They share funny TikTok videos, smoke together, and apply makeup on each other. The sequence culminates with them taking playful photographs and moving to the music, encapsulating a night of carefree enjoyment and escape from their daily struggles.

We cut back in time to show Samuel as an 18-year-old exploring his sexual identity. He’s immersed in a friend's house's vibrant and accepting atmosphere circa 2007. The setting is lively and filled with other LGBTQ individuals, marking a significant moment of happiness and belonging for Samuel, who is engaging in the popular TV show "Ru Paul's Drag Race."

The mood is light-hearted and inclusive, with friends sharing laughs over trying poppers and experiencing their light-headed effects. In a moment of exploration and self-discovery, Samuel experiments with silicon breasts, a common accessory in cross-dressing, while his friends playfully assist in giving him a complete makeover. This transformation process is more than just physical; it represents Samuel's journey in understanding and expressing his identity. Amidst jokes and sexually charged banter about attracting straight men, a friend inquires about the name Samuel would choose for himself, to which he responds with 'Stella,' inspired by a fashion book about Stella McCartney. This choice signifies a new persona or identity that he feels connected to.

The scene transitions to West Hollywood at night, where Samuel and his friends, energized and uninhibited, walk towards a club. They consume GHB, a drug known for its euphoric effects, setting the stage for a night of unrestrained freedom and desire. Inside the gay club, Samuel fully immerses himself in the environment, socializing, drinking, and dancing passionately. The club becomes a space for him to freely express himself, culminating in a liberating moment where he makes out with a masculine guy, symbolizing a peak of freedom and self-expression in his life.

We’re back in the current time in a scene set in Jaide's motel room. Jaide openly uses the bathroom while Stella freshens up her makeup. Jaide encourages Stella to take ecstasy. Stella, who hasn't used the drug in a while, initially hesitates but eventually gives in to Jaide's persuasion.

While waiting for an Uber, Jaide notices Stella experiencing nausea, a common side effect of taking the drug. Jaide advises Stella to breathe through the discomfort, suggesting it will soon pass and lead to relief. To demonstrate, Jaide performs a soothing, windmill-like arm movement. Seeing Jaide's relaxed demeanor and approach, Stella mimics the motion, finding it helps alleviate her discomfort.

It’s 2008 in the apartment of a mature drag queen named Fantasy, who performs a routine to the shallow song K On Ma Dick by Partiboi to Stella. The performance, set against a cheap party backdrop, is lackluster, with Fantasy showing signs of lethargy and limited movement, possibly due to her age and lifestyle.

After the performance, Fantasy educates Stella on the regimen of drugs necessary for her transition, including Spironolactone, Vitamin D, Provera, Diazepam, and Estridol injections. Stella repeats the dosages and schedules back to Fantasy, who confirms and instructs her to call for a refill in three months. Fantasy demonstrates how to prepare an injection, emphasizing the importance of using a larger, drawing needle for ease and reduced pain. The scene cuts to Stella's room, where she is seen preparing her injection.

Cut back to the current time as Stella experiences an introspective and liberating night out. The scene begins with Stella in an Uber, her hand casually out the window, feeling the breeze as her hair flows in the wind. She and Jaide then navigate through the bustling streets of downtown at night, heading towards a nightclub with an evident sense of anticipation while the muted beats of techno music set the mood.

Inside the club, Jaide leads Stella through a crowded dance floor. This environment is somewhat new to Stella, who appears wide-eyed and overwhelmed yet captivated by the sight of people connecting through dance. They find a more intimate space in the club's lounge, where Stella reflects on the human condition. She muses about the paradox of loneliness, suggesting that to avoid getting hurt, people often isolate themselves, ironically leading to the loneliness they are trying to avoid. Stella then ventures onto the dance floor, moving her body in an awkward manner as if she is not used to dancing. Through her voice-over, Stella continues to ponder the fear of hurt and how it leads to a self-fulfilling prophecy of solitude.

The scene intercuts to a scene of Stella in 2009, a year into her hormone treatment. Stella is seen dressed in women's clothing and a wig, confidently dancing in a manner inspired by vogueing and the film Ex Machina. This flashback highlights a moment of true comfort and acceptance of Stella's identity, marking a significant point in her journey of self-discovery and expression.

The dancing of a young Stella matches the dancing of an older Stella, and she seems unburdened by the world, completely absorbed in her moment of liberation. The sequence shifts to the nightclub's bathroom, adorned with mirrored walls that multiply Stella's reflection, creating an illusion of infinite Stellas. As Jaide leads Stella through this reflective maze, she pauses to gaze at her image, confronted with these countless versions of herself.

The perspective then narrows to Stella's point of view, focusing on Jaide's mouth as she speaks. Although the words are inaudible, the visual focus indicates a significant, albeit unheard, communication between them. The camera then shifts to a close-up of Stella's eyes, which are sharp and attentive, yet they mask the true depth of her internal thoughts and feelings.

In a more intimate turn, Stella and Jaide kiss within the confines of a bathroom stall. This moment of connection contrasts with the setting - a grungy yet romantic backdrop of a nightclub bathroom. The scene concludes with a birdseye view of the bathroom, capturing other patrons' dynamic and varied activities. This overview situates Stella and Jaide's intimate moment within the more seedy environment of the nightclub.

In 2010, Stella finds herself at an LGBTQ-friendly gathering, observing a group of flamboyant men dancing energetically. Despite her outward smile, it's apparent she's masking her true feelings of distaste. Her

discomfort extends as she looks around the room, taking in the sight of other flamboyant gay men socializing, which only intensifies her sense of unease.

Transitioning to a more personal space, we see Stella in her apartment. She showers a moment of solitude and reflection. After the shower, she stands in her bedroom wrapped in a towel, studying her bare face in the mirror. The scene captures her transformation as she meticulously applies makeup, which concludes with her fully dressed and examining her reflection once more, pausing to take a deep, contemplative breath.

The setting shifts to an upscale bar where Stella, now outwardly composed and confident, sips a drink. She attempts to connect by smiling at a guy across the bar. However, he turns away, seemingly intimidated by her presence. Stella is discouraged.

Stella goes to visit Natalie, who is the most passable trans woman she knows. Natalie lists the extensive and costly procedures she's undergone: facial and voice feminization surgeries, breast implants, liposuction, Botox, hip fat transfers, Brazilian butt lifts, and laser hair removal. She wryly describes herself as a piece of high art or a sex doll, depending on perspective, highlighting the monetary and emotional costs that come with her transformation. In a moment of candid curiosity, Stella asks to feel Natalie’s breasts, seeking a tangible understanding of these changes. Natalie consents, facilitating a moment of shared experience and understanding between them.

In Stella's room, she stands in her underwear, gazing into the mirror. Here, the scene employs visual effects to show Stella imagining a more feminized version of herself, reflecting her deep yearnings and the disparity between her current self and the ideal she aspires to achieve.

In the current timeline, Stella and Jaide are out with a group of men, watching an obese opera singer passionately perform "Nessun Dorma" on a makeshift stage illuminated by fluorescent tubes and Christmas lights. The singer's powerful expression of emotion and pain, juxtaposed with her lack of physical beauty, moves Stella, who sheds a tear.

Later, in an Uber ride, Stella sits in the front passenger seat while Jaide is in the back with two men, Matt and Jared. The group arrives at a motel, hanging out by the pool. Matt lights Stella's cigarette, hinting that he is interested in Stella, who he doesn’t know is trans. Jaide sees this, removes her clothes, and enters the pool naked. She provocatively invites Jared to join her in the pool naked as well, soon followed by Matt. Jaide beckons Stella to join them in skinny dipping, but Stella declines, feeling uncomfortable that the two men may not accept her as a trans woman since they clearly are unaware.

Stella retreats to the bathroom, reflecting deeply as she pees and checks her phone, which is on low battery. Still high, she lays on her bed, overwhelmed by her thoughts. She falls asleep.

She wakes up to the loud sounds of Jaide moaning from the next room. Frustrated, Stella dresses for work and leaves her room, sans gun. She walks down a service road, teary-eyed and smoking a cigarette. A car pulls up beside her, and the driver makes crude comments and propositions, which Stella sharply rebuffs. She continues her walk and eventually reaches a convenience store. At the store, Stella encounters two cross-dressing sex workers and a dramatic trans sex worker on the phone. Inside, she requests to use the bathroom to touch up her makeup, but the cashier initially refuses, assuming she is a sex worker. After some back-and-forth, the cashier allows Stella to use the bathroom in exchange for purchasing some items. In the bathroom, Stella sits to pee again and checks Grindr, where her profile seeks "GEN MEN." She scrolls through numerous explicit and unappealing messages. Her phone suddenly dies, leaving her disconnected. Upon leaving the 7-Eleven, Stella witnesses a confrontation between two trans prostitutes, one of whom verbally attacks her. Stella walks away, trying to ignore the hostility and the challenging environment she finds herself in.

In 2010, Stella, at 19, is immersed in a party scene involving drug use and a rougher crowd. She snorts cocaine and interacts with Titanium, a 35-year-old trans woman with a commanding presence. Titanium imparts her streetwise perspective on men, emphasizing their exploitative nature and the need for self-reliance. The party is intense, driven by drug-fueled dopamine rushes rather than genuine connections. Titanium advises Stella on how to navigate the world of sex work: taking appealing photos, screening clients, ensuring payment upfront, and touching clients to verify that they are not undercover cops.

The scenes shift to Stella taking provocative pictures of herself, which she edits and uploads to the T4M personals section of a classified site using her iPhone 4. The focus then moves to a motel room where Stella prepares for a client. She arranges necessities like lube and condoms and takes Viagra in anticipation. The sequence concludes with a knock at the motel room door. Stella, likely apprehensive, takes a deep breath before opening the door to greet her client, indicating her entry into a challenging and uncertain world of sex work.

In the current timeline, at night, Stella finds herself in an area frequented by other trans sex workers. Lighting a cigarette, she encounters Brit, a 25-year-old sex worker, who confronts Stella for being in her territory. Brit, suspicious and protective of her spot, questions Stella about her contact with someone named Shiela, which Stella affirms, albeit incorrectly, as Brit reveals there is no Shiela. This misunderstanding escalates when Brit calls over Tam, a formidable and intimidating non-passable trans woman, to confront Stella. Feeling threatened, Stella quickly leaves the scene, with Tam attempting to engage her in conflict. As she walks through the streets at night, a mysterious car begins to follow her, adding to the scene's tension. In a moment of urgency, Stella tries to use her phone to check Grindr, finding a message from a potential client with an address. However, her phone dies again before she can respond, leaving her stranded.

In 2011, inside a club with dubstep techno music playing, Stella is fully immersed in a hedonistic scene. Her body and face are covered in blue glitter, and her hair is dyed red, creating a striking image reminiscent of Mystique from X-Men. In this intense environment, she smokes a meth pipe, her head falling back as she succumbs to the drug's euphoric effects. Stella dances before an audience. She appears detached from herself, performing for those around her rather than for herself. Later in her apartment, Stella showers off the blue glitter. The euphoria of the club is replaced by overstimulation and tension, evident in her clenched jaw. In her kitchen, the aftermath of her indulgence becomes more apparent. Stella, making hot tea, stares at her cup with shaky hands, her jaw still clenched, signaling internal turmoil and pain. The sequence concludes in her bedroom, where Stella, now in the throes of a meth comedown, is in a state of distress. She bangs her head against the wall, struggling with the intense craving for dopamine. The scene ends with her lying in the fetal position, highlighting the harsh reality of her situation and the consequences of her drug use.

In the current timeline, Stella waits on the streets. A car approaches, and the driver, John, converses with her. He inquires about Stella's physical attributes and requests proof. Reluctantly, Stella complies, leading John to invite her into the car after confirming the payment amount. Inside the car, the atmosphere shifts to a darker, more ominous tone. John hands Stella $200, suggesting additional payment for her compliance. This exchange is marked by a tense and creepy silence reminiscent of scenes from abduction or serial killer movies. The situation escalates as John introduces a meth pipe, offering Stella more money to partake. After a moment of hesitation, she agrees and smokes from the pipe, asking about the substance. John's distorted response adds to the unsettling ambiance of the scene. The visual and auditory experience becomes increasingly surreal and disorienting. The scene has a bizarre yet strangely calming aesthetic, similar to an AI-generated rendition of a 1940s ballad, with John singing while driving. This creates a contrast between the disturbing reality of the

situation and the tranquil presentation. From Stella's distorted perspective, the scene shifts to a sexually charged interaction. High and disoriented, she engages in an intimate act while John watches, fixated. Stella's altered state is likened to an intense and prolonged popper high, further emphasized by the ASMR quality of her voice. The scene concludes with a slow transition into Philip G Anderson's "Reflections," suggesting a reflective or introspective moment amidst the chaotic and hallucinatory experience.

In a decrepit apartment in 2012, Stella finds herself amidst a squalid and unsettling scene. The room is filled with unsavory characters engaged in various illicit activities. Amidst the chaos, remnants of fast food and pizza boxes litter the area, indicating long-term neglect and decay. In this setting, people are using meth, with some individuals visibly overly high, evidenced by their drooling in a state of unconsciousness. In this grim environment, Stella extends her arm out, and another individual administers a dose of heroin into her vein. The drug quickly takes effect, and Stella succumbs to its influence, nodding off into a drug-induced stupor.

The scene shifts to a dark and dingy hotel room at night, where Stella, in a state of emotional detachment, engages in a transaction with a client. She performs the role of a bottom, but it’s evident that she is mentally and emotionally disconnected from the act, possibly as a coping mechanism to handle the grim reality of her situation.

Finally, in a moment that echoes the iconic "Forrest Gump" scene, Stella stands precariously on the edge of a balcony at night. In a poignant display of her struggle between despair and survival instinct, she tentatively extends one leg over the edge, testing the limits of her free will and contemplating a drastic escape from her painful existence.

Back in the current time, Stella finds herself in John's car at night, unsure of their destination. John cryptically assures her that she will love the surprise he has in store. The car stops at an adult theater, a seedy location frequented by perverts and low-level loiterers, and the location where Stella was sexually abused as a child. It’s the enemy’s lair, the location that represents the worst of masculine invention and a place responsible for so much of her pain. Stella exits the car and follows John into this dubious establishment. As they enter, Stella's perspective becomes distorted, resembling a first-person video game where the surrounding people move and behave like non-player characters, adding an eerie, surreal quality to the scene.

The story then briefly shifts to 2012, where Stella is seen in the backseat of a taxi, checking her iPhone 4. She exits the taxi and approaches a motel, indicating a transition to a different but similarly unsettling setting.

Back in the current timeline at the adult theater, the environment is marked by sterile lighting, creating an impersonal and uncomfortable atmosphere. They navigate through the store, passing by individuals perusing porn titles and sex toys. John pays the cashier, and they proceed through curtains into a hallway bathed in red light. The muffled sounds of pornography playing in the background contribute to the seedy and unsettling ambiance of the theater.

In 2012, Stella arrives at a motel at night and finds a note left on the door handle. The note instructs her to enter as the person inside is in the shower and encourages her to make herself comfortable. Stella enters the motel room and is greeted by the sound of running water from the shower. The room is neatly arranged, with a suitcase placed carefully and formal shoes laid out. An unworn suit is also hung in the room, indicating the presence of someone likely there for a formal occasion or business. Taking in the surroundings and adhering to the note's instructions, Stella removes her jacket. She sits on the bed, dressed in lingerie, presumably waiting for the person in the shower to emerge. The scene sets a tone of anticipation and a certain formality, contrasted by the intimacy suggested by Stella's attire and the private setting of the motel room.

In the present time, Stella is in an adult theater's arcade, seen through a distorted ultra-wide point of view. She follows John through a corridor, passing a few loiterers along the way. They enter a private booth in the theater. Inside the booth, the ambiance is defined by a flickering blue light from a TV screen, protected behind plexiglass. John takes control of the situation, switching the channel on the TV to a specific boy-girl scene that Stella prefers. Still viewed through the distorted ultra-wide lens, Stella observes the pornographic scene playing on the screen. However, her attention soon shifts to John, who is performing fellatio. The sequence captures a moment that blends the surreal and explicit, emphasizing the intense and personal nature of the scene unfolding in the secluded booth of the adult theater.

In the motel room in 2012, Stella is seen staring directly into the camera, her expression frozen. The scene transitions to her point of view, revealing her father, aged 55, speaking to her. Although his words are inaudible, it's evident that he is unaware that Stella is his child. Stella remains in a state of shock and disconnection as her father sits beside her, trying to comfort her. Sensing her unease, he decides to play music, choosing Wagner's "Prelude to Tristan Und Isolde," which he describes as a magnificent masterpiece. He asks Stella for her opinion, and she responds that it's nice. Observing Stella's apparent discomfort and inexperience with the situation, her father reassures her that there's no need for any sexual activity. He explains that he merely celebrated a significant business achievement and only sought companionship for the evening. This sets a poignant and complex backdrop for the encounter, marked by Stella's internal turmoil and her father's obliviousness to her true identity.

At the adult theater, Stella is subjected to a distressing situation where John tops her while a group of men encircles her, engaging in their acts of self-gratification. The intense and unsettling scenario leaves her drained, her wig discarded, revealing only a bald cap on her head. It’s the most humiliating experience of her life.

In stark contrast, the scene shifts to 2012, when Stella is in a motel room with her father, who is still unaware Stella is his daughter. Wagner's music plays softly in the background, creating an atmosphere of somber reflection. Father and Stella are in a cuddling position, and in a rare moment of vulnerability, Father sleep-talks, expressing love for Stella with the simple words “I Love You”. This elicits a tear from Stella, signaling a mix of sorrow and unspoken longing. As Philip G Anderson's "Consumed" plays, Stella gently extricates herself from her father's embrace. She observes her father one last time, a silent goodbye filled with unspoken emotions and complex history. Gathering her strength and bag, Stella exits the motel room, leaving her father and their shared past behind as she walks into the night.

These parallel scenes highlight the profound dichotomy of Stella's life – the brutal reality of her current situation at the theater and the poignant, complicated relationship with her father. Both experiences, though vastly different, shape Stella's journey, marking moments of deep suffering and poignant reflection.

During twilight, a deeply poignant scene unfolds. Stella, half-naked and clutching her wig, moves down the boulevard in a state of shock. Surrounded by a vibrating environment, she is at her most vulnerable. This moment of humiliation for Stella paradoxically serves as a form of healing.

Back in her motel room, Stella retrieves a silver revolver from a drawer. She checks the chamber, confirming it is fully loaded. In the motel bathroom at night, Stella, facing her reflection in a cracked mirror, positions the revolver against her head. A single tear escapes her eye, reflecting the depth of her despair. The scene shifts dramatically as she gathers the courage and adrenaline to pull the trigger. Before it goes off, we CUT to the year 2000 in a previously seen flashback where Samuel’s father is teaching him to fight in the backyard. His father encourages him to hit harder and to embrace aggression as a form of masculinity. In reality, Samuel gave up

and didn’t express aggression. But now, he snaps, going wild on his father, showing Stella’s release of pent-up rage, screaming profanities at his father.

Returning to the current time in the motel bathroom, Stella, in a moment of crisis, releases the trigger at the very last second. Overwhelmed by emotions, she collapses, breaking down in tears. The scene fades to black.

We open back up on Stella helping her mother move out of her apartment into a Van. She wheels her mom down the handicap ramp of her apartment, ensuring they have everything needed for their journey. They approach a U-Haul van, humorously contemplating the absurdity of placing her mom in the back.

As they drive, Stella's mom, a character full of spirit despite her situation, smokes while reflecting on her daughter. A poignant moment occurs at a gas station where Stella aids her mom in the restroom, symbolizing the depth of their relationship and the role reversal as Stella becomes the caregiver.

The duo shares a light-hearted moment at an ice cream shop, indulging in ice cream and laughter, a welcome respite from their challenges. This moment is captured in a photo, a memento of their journey.

In the hotel room, they watch TV together, an intimate scene of mother-daughter bonding. Later that night, Stella tenderly ensures her mom's safety by removing a cigarette from her sleeping mom's mouth.

Observing a young woman maneuvering a large suitcase alone at the hotel strikes a familiar chord with Stella, prompting her to smoke a cigarette in contemplation. The next day, Stella drives the U-Haul, reminiscing over an old family photo, reflecting on her past and the transformation in her relationship with her mom.

Upon arrival at their new home, Stella is struck by how different it is from her memories. Inside, she cares for her mother, offering tea, a simple yet profound gesture of love and support.

In a moment of contemplation on the porch, surrounded by wind chimes that her mother displayed after Stella ran away, Stella decides to quit smoking, throwing away her cigarettes. The wind chimes, each reflecting a part of her, create a symphony of sounds, accompanying the scene with a sense of closure and new beginnings. The scene closes in the same frame as in the movie's first image, but with Stella expressing her humanity rather than her sexuality with the hauntingly beautiful strains of Wagner's "Prelude to Tristan und Isolde," encapsulating the emotional depth and transformation experienced by Stella.