_{Jason by Maasja Ooms}

Twenty-two year old Jason is smart, engaging and articulate in equal measure. He is also undergoing trauma therapy, as most of his life he has suffered abuse. Additionally, we see how Jason is transitioning into a man, a process that necessitates both surgery and, of course, his vital change of name (from Latoya). 

The therapy sessions are painful to observe as Jason is encouraged to compartmentalise harrowing memories from three phases of his life into three distinct boxes. These are recollections of such severity that their coming to mind often renders him unable to function. In the treatment that he undertakes, the potency of his memories is negated by a series of bewilderingly complex, yet effective, mental exercises which he is able to perform (Jason’s mental agility is further demonstrated by his ability to construct a ‘Rubik’s Cube in a bottle,’ a feat we see him achieve as he watches breast removal surgery online). 

In essence, not only is Jason looking to empty the boxes that contain the memories of his mental anguish, he also needs to step out of the ‘box’ he was allocated at birth, and replace it with a brand new one. And all the time, he is slowly gaining true agency as an advocate for change within the care system that failed him.

“Jason has a special sense of dark humour, so it was often very attractive to be in his presence,” says director Maasja Ooms of her subject. “His way of arguing is very inventive and to me, that is a glory to behold.”

“At the same time, Jason was a severely traumatized child, whom I sometimes would pick up from a crisis ward to bring him home, fearing what he might do to himself.” she continues of a project that she feared may never come to fruition. “At the beginning of the filming process, after having filmed two test scenes, I had to decide not to make a film, because I saw no hope. I decided that it was too intense for me.”

“That was a disappointment to Jason, who wanted to reinforce his mission through the film about himself. I had to explain to him that I could not take it: the idea of filming a child on a downward slope, who may end up killing himself. Only when the trauma treatment presented itself did I dare to start the film. Especially after I overheard one of the therapists during the intake, saying they had great faith in the treatment.”

The film is produced by Willemijn Cerutti of Cerutti Film, and is supported by the Netherlands Film Fund, CoBO and VPRO. Following on from Alicia (2017) and Punks (2019) it is the third and final part of Maasja Ooms’ trilogy about the failing Dutch youth welfare services.

“Jason touches on something universal. Its basic theme is self-determination, the right to autonomy,” says Ooms. “That is why the film is suited to a wide audience. Indirectly, it also shows how a thought can arise about who you are. If you were mistreated as a child, the way you perceive yourself is almost never positive. Those early, formative years are essential for how you take your position in the world, and how you relate to that world. This too is a universal theme. Many people recognize this. I think those who are deeply moved are touched by my film on that part of themselves. You always cry about yourself. A film mirrors.”