The great documentary Disclosure spends some time discussing transformation narratives, of scenarios or situations where characters become something else, their “true” selves, and entertain a sense of freedom that they never before had, that they never before knew they desired. Transformation has long been a powerful allusion in queer narratives. It’s reminiscent of a certain scene in Moonlight: of young children, at a singular point in living, as directly themselves… but together. The two roll about in the grass, laughing and playing. The personal space between them is close and, at moments, more intimate than you might expect. The two clasps hands and gaze into each other’s eyes–deeply. Robyn and Mebh bicker and fight at first but soon become fast friends, as is cliche in such storylines. Mebh, a “wolfwalker,” is wild, rambunctious, and free, and she doesn’t trust Robyn, but does save her from one of the various traps around the forest deep down, Mebh is deeply earnest and trusting. Robyn is a lonely girl, trapped in a town that hates her, whose solace and coping mechanisms rely on the love of her father and the desire to prove herself capable to him by killing some of the wolves that seemingly terrorize the town. Robyn and Mebh, the two protagonists of Wolfwalkers, first meet like most unlikely allies do: as misinformed enemies. This Wolfwalkers article contains major spoilers.