Lily Wachowski: “Yes, The Matrix was a trans allegory, but not in the way you might imagine”

OVER THE PAST 25 YEARS, few filmmakers have challenged Hollywood’s neoliberal sensibilities with as much creative rebellion as the Wachowski sisters.

Their most significant joint creation, the original Matrix Trilogy, is renowned for its allegorical language addressing trans culture and life. Their filmography also includes the fiercely anti-fascist thriller V for Vendetta and the kaleidoscopically queer series Sense8. Together, they have brought complex issues to the fore – issues that Hollywood has often treated with ambivalence or discomfort, particularly during a time marked by heightened sensitivity around gender and rights issues.

Lily Wachowski has also written, directed, and produced two seasons of Work in Progress, a deeply poignant and hilariously candid portrayal of a self-identified fat lesbian grappling with depression, isolation, and more.

“One thing I can do as a filmmaker in this industry is provide employment opportunities to queer and trans individuals, as well as immigrants, both in front of and behind the camera.”

Both she and her sister seldom speak out, but when they do, their responses are unequivocal. They discuss whether The Matrix was an allegorical representation of their lives prior to their transgender transitions, the impact of Trump’s presidency on American society, and Lily’s role as a mentor at the nonprofit QUEER | ART, which aims to support trans individuals in their growth and resistance against policies hostile to their lives and rights.

In a rare interview, Wachowski discussed the revolutionary potential of queer mentorship, the full story behind The Matrix, and the future she envisions in Hollywood as the “frontwoman” in an unusual battle over body and gender.

In a particular interview with Them, Wachowski was asked if The Matrix was ultimately a trans allegory. For the first time, she provided a definitive response, largely to dispel the conjecture that has surrounded the trilogy over the years.

“Yes, all the decisions we made concerning this film, all the discussions, covered everything. Looking back at how we chose the two roles (Neo and Sweets, who would be a man in real life and a woman in the Matrix), it’s clear that they are two sides of the same coin in many ways. These weren’t conscious decisions, but rather instinctive navigations by two trans women hiding from everyone and everything. So all these theories that are circulating are perfectly valid. When people say, ‘oh, it’s a trans allegory,’ it’s like saying, ‘yes… “It wasn’t like we said, ‘hey, let’s write a trans allegory’. That’s not how it began. We wrote an action movie and then we infused the trans element throughout!” explains Watsowski.

When asked why she ultimately decided to become a mentor for trans youth, her answer is unexpected.

“My immediate reaction to that question is that I believe queerness resists empire. My trans existence, my trans body, is a form of resisting empire. It’s another perspective on what’s happening with capitalism, an empire that demands winners and losers. This system of governance thrives on competition. The leadership we exercise in organizing disarms empire and capitalism by uniting us as part of the same societal fabric,” she states, then adds:

“As trans people, we are world builders. We have the ability to envision a future that does not yet exist. So, I’ve learned to demand more, to seek more of other people’s stories, particularly their queer narratives.”

Watsowski takes a particularly strong position against anti-trans policies and legislation that target trans people in the US. She explains why she decided to stand up against this policy that seems to extend across the entire LGBTQ+ community.

“What’s happening is utterly devastating in many ways. However, one thing I can do as a creator in this industry is provide jobs for queer and trans people, as well as immigrants, both in front of and behind the camera.

After the second season of Work in Progress, I realized, ‘This is why I’m staying here.’ The joy these individuals derive from being their true artistic selves is the revolution. I must do everything in my power to amplify their voices. Because when I consider the current state of the industry, it seems to be moving in the exact opposite direction.”

“Studios have transformed into these wealth vacuums that just suck up money, these dying stars of capitalism that loom over us in the form of mega-corporations. The bottom line has always been there, but it has now become the primary product. Simultaneously, they are attempting to legislate us out of the public sphere – to make us invisible. These two forces working in tandem are incredibly frightening. But as a trans person, I am a living symbol of change and hope. So, all I can do is continue my work, continue creating my art, and continue providing opportunities and hope.”

From Them.us