The Sisterhood

Hazendal farmhands Pietie, Hope and Rollie are not your typical Western Cape wine workers. Hope aspires to winning the local drag beauty pageant, Rollie is the raining queen of the pageant and dreams of finding a husband, and Pietie struggles with his religious upbringing while obsessing over his roses, chickens, and pigeons. These three trans-gender wine workers confront prejudice at every turn from their farming community, city trans-genders and the world at large. Roger Horn’s film manages to find the fabulous in the fraught and offers a portrait of triumph in togetherness rather than loneliness in victimization