This essay considers the staging of transsexual fantasy in Apichatpong Weerasethakul's Cemetery of Splendor. Considering pivotal moments of shared intimacy where knowledge of what constitutes relations are confounded, this essay argues that it is the in-distinction of the film's dreaming form that provides the formal texture to read transgender in the film. Moreover, this essay pulls at the sutures that bind dream worlds together, not to reveal its hidden content but to show how dreams touch—and how they might touch the domains of transgender inquiry.

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