Mars takes approximately two Earth years to complete its orbit around the Sun, while Venus takes about seven and a half months. Despite their different cycles, every 18-24 months, the two mythically-linked planets align and create opportunities for astrologically significant events. Love, desire, creativity, strategic action, and will power are activated here on Earth reflecting the fraught, storied interplay between Mars' passion and Venus' harmony. A “Double Mars-Venus Transit” is when both Mars and Venus are simultaneously moving from one astrological position into another, while still being in relation to each other, twice in a short period of time. As Mars and Venus dance above, those earthly manifestations of love, desire, creativity, strategic action, and will power become ever more activated, pushed and pulled. If these two planets are conjunct, this is good; if they are square, watch out! If they move from one into another, well then there is potential for chaos and grave misunderstanding. Filmmaker and activist John Greyson begins his latest feature film Door Prize under this starscape. The sustainable, safe future promised by “green” transit solutions is called into question as John brings together brilliant scenes in color and black-and-white, silence and full audio, from so-called Toronto to the Thar desert. Created in close collaboration with Chase Joynt, this film spans documentary, drama, and space opera, as it follows the death of Mars Brito—a fictional trans bike courier—through a citywide, gamified, true-crime crusade. As Mars Brito’s death is investigated, another narrative unfolds with the same actors playing different characters. Centered around another person named Mars—not a bike courier this time, but a fictional trans activist—a community of comrades and opera singers create a memorial for the real-life 375 trans folks who were murdered worldwide in 2021. Under the influence of double Mars and Venus transits, Door Prize contributes to urgent conversations about trans activism, queer solidarity, and the politics of putting murder on screen. This whirling film deftly addresses media spectacle, trans visibility, and anti-trans violence while maintaining its commitment to solidarity—never speaking for and always speaking with. (Curated by Jaclyn Quaresma)