Kokomo City (2023) Documentary Movie Review

The film, shot and edited by D. Smith, a Grammy-nominated producer with a background in the music industry, stands out for its imaginative and sexually explicit content. The interviews with the trans women take place in their homes and public spaces, showcasing both glammed-up and everyday moments.

The black and white imagery pays homage to mid-century American documentaries, yet the film's structure and editing exude a rebellious, punk rock energy. It intentionally ignores traditional documentary guidelines, boldly declaring, "If you don't like what we're doing, go watch a different movie."

D. Smith's personal journey, including being ostracized by the music industry after coming out, adds a layer of depth to the film. "Kokomo City" becomes a form of reclamation, reinvention, and return for Smith, who infuses the documentary with an infectious burst of energy.

The movie navigates through various scenes, sometimes tripping over its own ambition but always remaining true to its unique vision. It deliberately detaches itself from mainstream life, mirroring the unconventional lives of the individuals it portrays in New York and Atlanta.

The opening scene grabs attention with an impromptu monologue about a sex worker disarming a client, presented with playful and exaggerated recreations. The film maintains a feeling of insider access, further emphasized by a politically charged closing montage featuring full-frontal nudity, reminiscent of a rebellious 1990s MTV video.

Throughout the documentary, there are dramatizations of the subjects' work experiences, including explicit scenes, as well as quieter, intimate moments that provide a glimpse into their everyday lives. D. Smith employs continuous music, similar to Spike Lee's style, adding a touch of grandiosity to the gritty documentary footage.

"Kokomo City" stands as a testament to creative freedom in a time dominated by corporatized filmmaking, inviting audiences to embrace its unconventional approach and challenging them to redefine their expectations.

"Kokomo City" unfolds like a series of distinct snapshots, akin to short stories in an anthology film. Rather than guiding viewers gently from one theme to another, the movie boldly presents these disparate scenes in a linear sequence. This deliberate choice aligns with the film's overarching theme – a shared experience among the subjects of being ignored, exploited, or persecuted by the world at large.

The stories converge around a common belief rooted in the harsh realities faced by the Black and trans community, often focusing on intimate spaces, particularly the bedroom. The film acknowledges both external perspectives and internal dynamics within the community itself. The title, a nod to blues singer Kokomo Arnold, reflects a nuanced understanding of relationships and desires, including the complex dynamics of 'trade' – men who secretly engage with trans women while concealing their true identities.

Despite addressing the vulnerability and dangers faced by the trans community, "Kokomo City" maintains a warm and inclusive tone. It establishes its own boundaries and finds solace within them. The storytelling approach is flexible and fluid, allowing each speaker to shine in their respective scenes. The film's creator, D. Smith, draws inspiration from unconventional sources, citing the influence of the 2016 film "Joker" for its portrayal of the title character's unadorned daily life. Through "Kokomo City," Smith aims to reshape the narrative around trans women, emphasizing their humanity, relatability, and the universal desire for love. Despite the often stark realities depicted, the film ultimately serves as a celebration of diversity and a call for understanding. Tragically, one of the film's subjects, Koko, faced a tragic fate in Atlanta after the film's festival success, underscoring the ongoing challenges and risks that persist within the community.