Cristian Ceresoli

It often happens that at the moment of death, transgender individuals are shorn of their identity. Their families are ashamed, the funeral takes place in secret, and on the tomb appears the name the deceased had before their transition, in one stroke nullifying the entire life path they had chosen. The same thing happened to Antonia. Her girlfriends gather to honor her memory and give her back her identity denied. In telling her story, the film’s stars, all drawn from the variegated transgender world, interweave the narrative with tales of their own lives, experiences, and memories.

La Merda is a poetic stream of consciousness where it is unleashed the bulimic and revolting public confidence of a "young" and "ugly" woman as she struggles with obstinacy, resistance and courage for her own celebrity breakthrough in the society of Thighs and Liberty. La Merda is driven by a desperate attempt to pull ourselves out of the mud, the latest products of the cultural genocide aptly described by Pier Paolo Pasolini since the modern consumer society began taking form. A totalitarianism, according to Pasolini, even more repressive than the one of the Fascist era, for capable of crushing us softly.