
Re-Births
2021

2016
Director
Mark Kenneth Woods, Michael Yerxa
Runtime
71 minutes
Average Rating
No ratings yetSynopsis
A new film about homosexuality in the Inuit society shines a light on an often forgotten group of people. The Inuits are indigenous tribes who come from the northern territories of Canada. The word “inuit” means “the people” in the Inuktitut language. It is commonly believed that homosexuality does not exist in Inuit society, or is a choice, but documentary filmmakers Mark Kenneth Woods and Michael Yerxa aim to prove this untrue in their documentary, Two Soft Things, Two Hard Things. The title for the film comes from the Inuit word for homosexuals. The word for lesbians translates to “two soft things rubbing against each other” and the word for gay men means “two hard things rubbing against each other.”
Overall Score
Excellent
Category Breakdown
LGBTQ+ Representation
The film centers entirely on the lived experiences of LGBTQ+ individuals within Inuit culture. It uses Inuktitut linguistic frameworks to validate these identities as intrinsic historical realities rather than modern choices.
Gender Representation
The documentary disrupts traditional hierarchies by exploring gendered expression through specific Inuktitut descriptors. It moves beyond Western binaries to provide a nuanced view of intimacy and identity.
Racial & Ethnic Diversity
The narrative provides significant agency to the Inuit people, centering indigenous voices. It highlights how colonial narratives have historically erased the complexities of indigenous social structures.
Religious & Cultural Diversity
The film challenges Western-centric morality by presenting indigenous concepts of sexuality. It critiques the colonial imposition of heteronormativity as a systemic byproduct of Western influence.
Disability Representation
There is no explicit evidence regarding the portrayal of physical or neurodivergent disabilities in the film.
Strengths
Areas for Improvement
AI Analysis
Two Soft Things, Two Hard Things is a profound exercise in intersectional storytelling. It moves beyond simple inclusion by utilizing the Inuit language itself to dismantle colonial myths regarding sexuality and tradition. The film successfully reclaims historical truths that have been obscured by heteronormative perspectives. By centering the narrative on the linguistic and social realities of LGBTQ+ Inuit individuals, the filmmakers disrupt conventional expectations of both indigenous and queer representation. Ultimately, the work functions as a powerful deconstruction of the traditional social order, replacing it with a culturally specific understanding of identity.

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