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(LifeSiteNews) — Amidst a deepening civilizational and spiritual crisis, there is a growing realization that the stories we are told are at best incomplete.

At worst, the narratives marketed in our mass media exclude the truth and present a popular fiction in its place. The stories of “trans widows” is one undeniable example of this feature of our system.

In Behind the Looking Glass, a new documentary by Vaishnavi Sundar, we hear from women whose husbands have “transitioned,” leaving them alone – and in a silence whose breaking comes at a predictable cost.

There is no other film which shows the devastation of the lives of women and children in the wake of a male-to-female “transition.” Sundar’s film shows the damage done to the lives of mothers and wives, tracing the roots of a pornographic fetish to a fetishized form of abuse now presented as heroism.

Sundar spoke to LifeSiteNews about her film, explaining the reason why hers is “the first of its kind in collecting such experiences of women from around the world.”

Caution: There are explicit items in the film that some may find too difficult to watch.

As the introduction to her documentary says, “While we hear a great deal of ‘stunning and brave’ stories of men, there is a deadly silence when it comes to the stories of the wives or partners.”

In her interview with LifeSiteNews, Sundar explains the reason for this silence. Put simply, there is no money in speaking the truth about the power of the trans cult.

Once she began to record the destruction of families, and the desolation of the women left behind by their former husbands, her commissions as a writer “simply dried up.”

Titled Behind the Looking Glass, her film also functions as a study in monetized narcissism. It has one simple message, but its significance resonates through several dimensions of our counterfeit culture.

It shows how the rights-based movement has been successfully hijacked by what Jennifer Bilek has called “a techno-fetishist cult masquerading as a civil rights movement.” This is not merely about the spread of what is called “wokeism” by commentators keen to commodify outrage and do little else.

READ: New book written by feminist exposes who is really behind the transgender agenda

This is a film about the casualties of the capture of society by a well-financed industry of glorified self-harm, in which we hear the real life stories of real women.

These women are telling a truth incompatible with the expertly-marketed public image of the trans cult.

Sundar says after “many, many years” of the rise to prominence of the trans phenomenon, she was astonished to find there was no other film showing how it had affected the lives of mothers and wives.

They had simply been left in the dark. This, says Sundar, is deliberate. She says a cult of celebration has formed around the “abuse” of women by so-called “transwomen,” giving “paparazzi” treatment to “transition” stories, and showcasing only those women who Sundar says are co-opted into celebrating their replacement by male impersonators.

She says she expects her film to be deleted by YouTube and has had no other requests for an interview to discuss it.

“So the only demographic that is going to be affected, and any film that platforms them is at risk of being deplatformed, are films that are now essentially making these men villains, because they are calling them for what they are. They are abusers,” she said.

How could this happen to a feminist like Sundar? Why has the progressive left not taken up the cause of the women abused by these men?

One of the “trans widows” says plainly in the film, “It is axiomatic on the left that untold stories will be told” – but that “no one wants to hear our voice.” This is true, and it is the reason that this is the first film which listens to them.

Yet there is a wider lesson here. What is true is taboo not only in the case of the transgender phenomenon, but in practically every other principle of the social and political culture presented as the alternative to our civilization. It is an indictment of the nature of our system that it can be so successfully suborned by evil. Yet naming – and not doing – evil is the greatest offense in our times.

Until recently, men dressed as women insisting on being present in ladies’ toilets and alone with children would have been greeted with disgust and their demands met with incredulity at best. These days they are heroes – and to question this can attract severe legal and career penalties.

To speak of the former wives of these men as victims is another taboo – because it is true. As Sundar points out in the interview, the victims of male “transitioners” also include their own children.

Why is the obvious damage to mothers, children, and families an unspoken truth? Sundar agrees with Jennifer Bilek that the trans cult is not merely a sexual fetish, but an industry aimed at the transitioning of humanity into a post-human future.

Her film is controversial, she says, because to hear the voices of the “trans widows” is to review the hierarchy of privilege determined by these claims of victimhood.

“These are men seeking to be victims,” she told LifeSiteNews. Why?

Sundar explains that the transgender movement claims an imaginary victim supremacy but is keen to silence any mention of the real life victimhood it creates.

Sundar told LifeSiteNews that it was her previous documentary, Dysphoric, which led her to ask whether anyone had told the story of the “trans widows.” In her earlier film she showed another dimension to the nature of trans victimhood – the profound regret of young girls who had “transitioned,” often into a lifetime blighted by irreversible harm.

Sundar’s Behind the Looking Glass now gives a voice to the women eclipsed by the former men in their lives. This deprives male “transitioners” of the honor of supreme victim.

To show that their glamorized tales of liberation leave broken families and silenced, traumatized women and children in their wake is to reveal another ugly truth behind the looking glass – showing the human cost of the eroticized pinnacle of consumerism.

Why is this obvious fact not widely acknowledged? Notably, Sundar mentions the presence of “trans censors” in broadcast and print media, whose nominal advisory role is to transition the news you receive to reflect their worldview.

READ: Jordan Peterson condemns ‘trans-butchery of minor children’ as ‘a crime against humanity’

That this is even possible shows that something is deeply wrong with our so-called democracy. Sundar shows the international power of a cult of monetized human vandalism, which has captured our political, medical, psychological, educational, and professional institutions. So far, it has been women like Sundar, working largely alone, who have produced the best work in documenting – and countering – this growing threat.

Some say that a system is what it does. What our system does is promote evil as good, turning the ruin of lives into money and ruining the lives of anyone who stands against it.

Sundar’s film shows the personal, real dimension of this industrialized and international cult of harm, whose hostility extends beyond that directed at women and the family. It is an assault on the basic biological reality of human beings, an attempt to remake creation from technologically enabled desire.

The effects of this vandalism are often lost in a swarm of noisy outrage. To hear the voices and see the faces of the women orphaned from the lives they had is to recognize the destructive power of this disfiguring cult. There is no cultural firewall to the trans phenomenon. Sundar’s work shows that it consumes Muslims, atheists, Hindus, and Catholics alike.

To see this is to witness the power of evil and its glamorous allure. The women behind the looking glass tell stories of men seduced by their own carnal fascinations, tempted away from their wives and children into a manufactured culture of false promise.

In Sundar’s film women relate how these men are greeted with industry-funded “therapists,” granted an instant form of celebrity, afforded legal and workplace privilege, and celebrated on the pages of major magazines. It is a catwalk to hell, paved with pornographic intentions.

Sundar’s film also traces the roots of the promotion of transvestism in 1950s porn magazines, making a strong case for the trans phenomenon as the latest manifestation of the transition of humanity from biological reality and into a sexualized product for sale. The film also touches on the replacement of social reality with a sensational “spectacle,” reducing life to a competition for attention by means of ever-more extreme perversions.

The documentary she has produced is a good film in both senses. It is well made, and the three years she has spent realizing it have produced an extremely watchable account of the true cost of the economics of “trans joy.”

In the moral sense it is an extremely potent corrective to the fantasy of the trans narrative. This is a film which has the power to draw all the conjured glamour from the cult of “transition.”

Can we have a world in which the destruction of humanity is not pushed as a pathway to fleeting stardom, purchased at the price of life? Yes, and the way to do that is to show what it means in reality.

The advertised product is not the one we are getting. It is the replacement of something meaningful and real with something less than nothing. Sundar’s work is an account not only of the subtraction of women from “woman,” but of a culture of silence around an evil which promises glittering transcendence but delivers a void.

You can watch Vaishnavi Sundar’s film Behind the Looking Glass HERE.

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