Our comprehension and engagement with gender and sexual identities are profoundly and intricately shaped during pivotal stages of personal development. This process is significantly influenced by the rigid binary classifications imposed by family and cultural norms. These norms present a formidable challenge, especially for young individuals, who often find themselves grappling with the complexity of articulating their opposition to such deeply entrenched categorizations. The pervasive nature of patriarchal ideologies adds an additional layer of complexity to this dynamic, subtly conditioning our minds to unconsciously overlook the extent to which societal beliefs and norms stringently suppress any deviations from these pre-established standards.

In this intricate context, 20,000 Species of Bees, directed with astute insight by Estibaliz Urresola Solaguren, emerges as a sophisticated exploration of the multifaceted nature of identity. This article aims to delve into the intricate manner in which the film intertwines with the philosophical underpinnings of Gilles Deleuze’s concept of becoming.

Setting the Stage: A Summer of Self-Discovery

Similar to Céline Sciamma’s Tomboy (2011) and Carla Simón’s Summer 1993 (2017), Estibaliz Urresola Solaguren’s film uses the backdrop of summer to weave a narrative about a child’s search for identity in a world dominated by patriarchal norms. The story begins in the heart of Basque Country, initially on the French side in Bayonne before transitioning to the Spanish side. Here, the protagonist, originally named Aitor but preferring Lucía (portrayed by Sofía Otero), travels with her mother Ane (Patricia López Arnaiz) and siblings to a small village to visit their grandmother. This setting, alive with energetic children and conversational elders, forms the backdrop for Lucía’s journey. Her deepest wish is to be recognized and accepted as a girl, longing for the name Lucía, which I will use for her in this article.

Lucía’s Odyssey – Beyond Binary Boundaries

The narrative of the film, complex yet elegantly constructed, centres on Lucía’s journey, portrayed with remarkable sensitivity and nuance by Sofía Otero. The casting of Otero, a cisgender girl, in the role of the trans girl Lucía, injects an additional layer of complexity and nuance into the narrative. This casting choice goes beyond mere representation; it harmonizes with the overarching theme of identity fluidity. Otero’s portrayal, which earned widespread acclaim, particularly at the Berlinale, is a testament to the power of non-verbal communication. Her performance resonates deeply with Gilles Deleuze’s concept of becoming—an experience that is primarily physical, transcending the limitations of verbal expression.

The Art of Becoming – Deleuze’s Echo in Cinema

Lucía’s quest for self-discovery, while deeply personal and introspective, resonates profoundly with Deleuze’s philosophy: ‘To become is to never imitate, nor conform to a model… Becomings are not phenomena of imitation or assimilation but of double capture, of non-parallel evolution, of nuptials between two realms’ (2006, p.2). This central theme transcends conventional storytelling, positioning the film as a philosophical odyssey exploring the intricate landscapes of identity and existence.

The Astronaut and the Beekeeper – Imagery of Otherness

One particularly memorable image from the film shows the 8-year-old protagonist, clad in a yellow beekeeper outfit, journeying to the bee garden with her great-aunt Lourdes (Ane Gabarain). This imagery, reminiscent of an astronaut exploring a foreign planet, embodies Lucía’s real-life experience. Born biologically male but identifying as female, she feels like an outsider, visiting Earth from an unknown world. This feeling of otherness is paralleled in her great-aunt, who, living alone, unmarried, and childfree, also deviates from societal norms. This image of them in beekeeper outfits powerfully encapsulates their shared predicament.

The Tapestry of Identity – Beyond Gender and Sexuality

As our understanding of gender and sexuality evolves beyond traditional binary frameworks, it becomes evident that identity is not a singular entity but rather an elaborate tapestry woven from diverse strands like nationality, social status, and more. In this evolving landscape, cinematic works like 20,000 Species of Bees play a pivotal role in enriching our perception of identity. These films highlight that identity, including gender identity, extends far beyond a binary spectrum, encompassing a broad range of experiences and expressions. 20,000 Species of Bees particularly emphasises the fluidity and continuous evolution of identity, challenging the fixed and rigid conceptions we have been conditioned to accept.

As Deleuze noted in his work Difference and Repetition: ‘That identity is not first, that it exists as a principle but as a second principle, as a principle become; that it revolves around the Different: such would be the nature of a Copernican revolution which opens up the possibility of difference having its own concept, rather than being maintained under the domination of a concept in general already understood as identical’ (1994, p. 40-41)

A Mother’s Reflection – Parallelism in Narrative

This narrative complexity is additionally enhanced by the portrayal of Lucía’s mother, Ane, embodied with a profound depth of character by Patricia López Arnaiz. Ane’s own narrative arc, interwoven with artistic aspirations and personal uncertainties acts as a reflective mirror to Lucía’s transformative journey. This intricate parallelism between mother and daughter crafts a layered narrative structure, enriching the film’s exploration of identity. It delves deep into the concept of identity as a dynamic and ever-evolving construct, thereby aligning seamlessly with the philosophical underpinnings of Gilles Deleuze.

The film’s rich visual language is further enhanced by the symbolic use of beeswax in Ane’s sculptures. This choice of material is far from incidental; it is replete with symbolic resonance. Beeswax, with its inherent properties of malleability and fluidity, becomes a potent symbol for the film’s thematic core. The transformation of beeswax, oscillating between solid and liquid states, serves as a powerful illustration of the film’s central assertion. It encapsulates the idea that personal identity, much like the medium of art, is not fixed or static but is perpetually open to change and reinterpretation. This use of beeswax intricately ties the artistic process to the human experience of identity, suggesting that both are subject to continuous evolution and reshaping.

Catalyst for Change – Lucía’s Transformative Impact

The beeswax, however, to melt and become malleable, needs to be heated up. Similarly, to dismantle the deeply-rooted structures and norms, fire is necessary – a catalyst for transformation and change. In Estibaliz Urresola Solaguren’s film, this transformative catalyst is embodied in the character of Lucia. Her journey and experiences within the narrative serve as a compelling testament to the potential for change and the dissolution of long-standing, rigid structures of identity. She not only discovers herself but also affects the others in her environment. Lucia’s story eloquently demonstrates the resilience and dynamism of human identity, compelling viewers to reexamine and reevaluate their own perceptions and understandings of gender and sexuality. This narrative journey not only enriches our understanding of identity but also invites us to participate in a broader conversation about the ever-evolving nature of human existence.

Director Estibaliz Urresola’s approach in this film is a nuanced blend of cinematic subtlety and emotional depth. The use of handheld cameras to capture the subtlest expressions and gestures creates an intimate, almost palpable connection with Lucía’s internal struggles. This immersive technique draws the audience into a deep, emotional, and visceral engagement with Lucía’s experiences.

The film delves into Deleuze’s philosophical musings, illustrating becoming as an ongoing process of transformation and multiplicity. It challenges the conventional, rigid notions of identity, suggesting life as a perpetual dance of evolving singularities and interactions. Lucía’s journey thus becomes more than a story of gender identity—it morphs into a wider exploration of the human condition, highlighting our inherent capacity to change and grow through our engagements with the world.

The Language of Bees – Communicating Identity

Furthermore, the film introduces the motif of communication through its depiction of bees and Lucía’s interactions with them. Lucía’s initial fear of the bees, and her subsequent acclimatization with the guidance of her great aunt, symbolizes her journey of self-discovery and acceptance. This narrative arc draws a parallel between the bees’ communication methods and Lucía’s efforts to articulate her identity. The film suggests that akin to bees, human identity and ‘becoming’ often transcend the capacities of language, emphasizing its limitations in capturing the complexities of identity. As Deleuze posits, the continuous act of creating life involves embracing the pure force of life and its inherent differences.

Philosophical Cinema – Transcending Traditional Narratives

In summary, 20,000 Species of Bees transcends the traditional boundaries of cinema, evolving into a profound philosophical discourse encapsulated within a narrative framework. It adeptly embodies Deleuze’s philosophy of ‘becoming,’ inviting the audience to reflect on the fluid nature of identity and the perpetual process of transformation inherent in the human experience. The film stands as a significant and innovative contribution to contemporary cinema and cultural discourse, showcasing the exceptional ability of cinema to explore and mirror intricate philosophical ideas.

Bibliography:

Deleuze, Gilles, (1994), Difference and Repetition trans. Paul Patton (New York: CUP).

Deleuze, Gilles & Parnet, Claire, (2006), Dialogues II, Tomlinson Hugh, and Habberjam Barbara, trans., New York, NY, 2002.