Anhell 69 is true trans cinema, and it transcends the barrier between the world and film to create a state of “Transition” to negate the border of time and space, genre, and gender. The film starts with a scene where a funeral car drives down a vast highway. The director acts as a corpse lying inside the coffin, and the voice-over narration takes the audience to the audition site which was held years ago for the film production. The young candidates are asked, “What do you do for work?” and a young boy named Camilo Najar answers he does drugs, robbery, and sex. Najar answers that he is doing his best to live in the present and that he is not afraid of death. “ANHELL 69” is Instagram account of Najar. In the film, the narrator says that Najar’s social network became a cemetery. What would be the future of a country of violence represented by Pablo Escobar and Guerillas? The film-within-a-film plotted by Theo Montoya is a story of vampires and a country where dead and living coexist. The overwhelming visual ecstasy, such as the drag club’s dizzy lighting, hallucinating vampire sequence, and drone shots describing the scenery of Medellín take the audience to the end of condolences, futility, and depression.