The figure of Tiresias is one of the most elusive and fascinating in Greek mythology. Successively male and female, blind, visionary and, above all, a being in the interregnum between the world of the gods, the world of men and the beasts, Tiresias is a secondary character in the main classical Hellenic sagas, from the tragedy of Oedipus to the Odyssey. Bertrand Bonello, in his third film and his second with a truly international impact, decides to give him the leading role in a story that aims to embrace the myth from a contemporary and timeless point of view. Tiresia is also a mutant film in its narrative and its generic affiliation. The story of Terranova, a sexual obsessive who kidnaps the transgender prostitute Teresa, gradually becomes her story when he mutilates and abandons her in the forest. Condemned to a dependent life and a gradual transformation that will grant her (or him) supernatural powers, the new Teresa (becoming Tiresias) will still have to endure a new onslaught of fate that, strangely, will bring the story to a close in an almost circular fashion. Bonello thus reflects on identity and our (in)ability to change our destiny in a world of unfathomable cruelty. At the same time, in a strategy that became increasingly consistent as his career progressed, Bonello proposed an unusual crossover of genres: a confinement thriller and religious drama with touches of eroticism and fantasy. He also offers, as in L'Apollonide and other later films, an oblique critical look at a society that marginalises the most precarious beings, but ultimately instrumentalises, mistreats and discards them. A film at once deeply spiritual and scorchingly carnal, bressonian and voluptuous, Tiresia is an experience as difficult to classify, and ultimately to reduce to a few explanations and sensations, as the metamorphosis(s) undergone by its protagonist. GABRIEL DOMÉNECH GONZÁLEZ