What does it cost to reshape your body to match your soul? Girl (2018), directed by Lukas Dhont, plunges us into the life of Lara, a 15-year-old transgender ballerina, with a gaze so intimate it feels like we’re holding her hand through every bruising step. This Belgian drama doesn’t just depict a transition it dissects the quiet violence of self-discipline, both in dance and identity, with a clarity that’s as breathtaking as it is unsettling.

Victor Polster’s performance as Lara is a revelation, a tightrope walk of restraint and raw vulnerability. A cisgender actor playing a trans girl sparked heated debate, but Polster’s grace both in acting and ballet silences easy dismissals. His every glance, every wince, conveys Lara’s internal war: the longing to be seen as herself, not her body. Arieh Worthalter, as her supportive father, complements with a warmth that grounds the film’s heavier moments, though the supporting cast can feel one-note, orbiting Lara without enough depth to reflect her world fully.

Dhont’s direction, paired with Frank van den Eeden’s cinematography, is where Girl soars. The camera moves like a dancer, fluid yet precise, lingering on bloodied toes and taped skin to mirror Lara’s physical and emotional toll. These visuals aren’t exploitative but unflinching, forcing us to confront the pain of transformation literal and metaphorical. Yet, the film stumbles in its final act, leaning into a graphic moment of self-harm that feels more shocking than earned, risking sensationalism over nuance.

In 2025, Girl resonates fiercely as conversations about trans representation evolve. It’s not a perfect mirror some criticize its cis lens but it’s a vital one, capturing a singular story with empathy that doesn’t preach. For today’s audiences, craving authenticity amid polished blockbusters, Girl offers a raw, human core. It’s a film that doesn’t solve the riddle of identity but dares to ask it, loud and clear. Watch it, feel it, argue about it because Lara’s courage demands nothing less.