Upcoming Sex-Swapped Conan Will Be A Queer Cringe Fest With “She Is Conann” Coming To Cinemas In February

She Is Conann, directed by Bertrand Mandico, a sex-swapped queer, cringe adaptation of Conan the Barbarian, is coming to cinemas in February.

From a short synopsis at Altered Innocence: “In a barbaric fantasy sci-fi trip through time, sword-and-sorcery mythology is bent, fractured, and gender-swapped by master visionary Bertrand Mandico in his third feature epic. Six lives, six eras, and six deaths mark Conann’s poetic journey through different incarnations and lesbian loves. Guiding Conann through her many epic lives is Elina Löwensohn (Amateur, Let the Corpses Tan) as Rainer, a Cerberus of many otherworldly dimensions whose paparazzi camera sees all.

The perversity of The Wild Boys and the hero’s journey of After Blue (Dirty Paradise) come together in this even greater handmade homage as Mandico ropes in influences as lush as Fellini Satyricon, The Night Porter, The Hunger, and Fassbinder’s entire oeuvre to craft a moving portrait of a warrior trying to find her place while outside of space, time, and meaning. This official selection of Cannes Directors’ Fortnight, Fantastic Fest, and Sitges “thrives on its own bizarre extravagance as it pushes the limits of substance and style.”

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This black-and-white adaptation of Conan is a celebration of perverse queer depravity. From an interview of Mandico with Horror Press:

“I was very struck by the gender nonconformity in She is Conann. The scene that stood out to me the most is when Rainer says he is becoming a barbarian and shows that he has grown breasts. What is the significance of this scene? What was the meaning behind choosing a woman to play Rainer?”

“BM: Rainer is not gendered. He is all sexes. He is fascinated by Conann, he wants to be like her and to seduce her. I offered the role to Elina Löwensohn because I knew she would create a complex and ambiguous demon. I like to give actresses singular and unusual roles, not stereotypes, the roles that are usually given to men.”

“BM: Rainer is a demon with the head of a dog with an appearance reminiscent of R.W. Fassbinder (a filmmaker I revere). In different beliefs, the dog is the ferryman, the one who can go to the otherworld, the world of the dead.”

“She is Conann is incredibly queer from the character’s relationships to their bodies. You’ve said in previous interviews that your work is queer in the original sense of the word of challenging heteronormativity. Why is this important to you? Is it hard to make these films in the present times of bigotry against the LGBTQ+ community?”

“BM: Because the Queer vision advances the narrative, breaks the clichés, deviates the imagination, and challenges censorship, it is an artistic and political choice, one does not go without the other. I’m trying to remain a free spirit. The original meaning of queer is synonymous with the freedom of mind and creation.”

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According to the director, queer Conann is stuck in hell, “a loop of suffering and remorse, to be condemned to forget and recover memory, to relive harmful actions. The only thing that can save the barbarian is regret.” Not exactly what Conan fans wanted.

According to the interviewer, Conann is a warrior at 25, a betrayer at 35, a sadist at 45, and a psychological terror at 55. She did not disclose what Conann was at 56, a childless cat-lady perhaps? This kind of bastardization of Robert E. Howard’s great Conan character has to have him turning over in his grave.

What do you think of Conan getting this kind of treatment? Leave a comment and let us know.

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