A film distributor in Hollywood wants to get the rating changed on a movie about transgenderism so that high school students can see it.

The Weinstein Company has protested the R rating from the Motion Picture Association of America (MPAA) for the upcoming film, “3 Generations,” which follows a transgender teen who transitions from female to male. MPAA gave the film an R rating because of profanity and sexual references — but the Weinstein Company wants the rating changed so that younger audiences can see the film.

“The fact that an R rating would prevent high school students from seeing this film would truly be a travesty,” producer and Weinstein Company co-chairman Harvey Weinstein told The Hollywood Reporter.

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The film focuses on a transgender boy (a biological female), who is played by Elle Fanning — along with his mother and lesbian grandmother, portrayed respectively by Naomi Watts and Susan Sarandon.

“‘3 Generations’ is an important movie for everyone to see, especially transgender youth who are feeling isolated or fearful, and their families,” Sarandon told The Hollywood Reporter. “It’s ridiculous to have an ‘R’ rating, which would prevent this audience from seeing the film.”

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There is nothing new about gender-bending characters in Hollywood films. But there does seem to be new effort exerted to use movies to increase an acceptance of transgenderism — and to isolate and demonize any representations of it that don’t conform to the left-wing narrative.

“3 Generations” is the latest example of the effort to increase this acceptance. But another new film, “The Assignment,” demonstrates what happens when a film runs afoul of the left-wing consensus.

Actress Michelle Rodriguez plays a hired killer who unwillingly undergoes gender reassignment surgery after being kidnapped by a mad doctor. Critics and LGBTQ activists derided the film. Nick Adams, the Los Angeles-based director of the transgender media program at GLAAD (formerly the Gay & Lesbian Alliance Against Defamation), criticized the way it turns “a life-saving medical procedure for transgender people into a sensationalistic plot device.”

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“Assignment” director Walter Hill lamented that social politics were poisoning storytelling. “Identity politics are probably the bane of the country currently, but storytelling is storytelling. There are no subjects that are sacrosanct, in my opinion, and you just have to be able to defend what you do,” the director told The Hollywood Reporter.

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In another example of backlash, when “Zoolander 2” hilariously featured a transgender androgynous model played by Benedict Cumberbatch, people threatened boycotts and activists criticized it as mockery.

In the past, transgender images have included quirky and weird characters, such as Dustin Hoffman’s “Tootsie” and Alexis Arquette as a Boy George-obsessed bandmate in “The Wedding Singer.” Or they represented a darker picture of mental illness, such as serial killer Buffalo Bill in “Silence of the Lambs” or Norman Bates in “Psycho.”

Now, normalization has become the goal, with inconclusive results. “I Am Cait” – the reality show that was Caitlyn Jenner’s attempt to score progressive points in Hollywood — lasted barely two seasons. But Laverne Cox has been well-received for her performance on Netflix’s “Orange is the New Black.”

Hollywood has tried to push a number of movies, such as “Transparent” and “The Danish Girl,” that offer greater insight into transgenderism. But it has been a hit-or-miss agenda that audiences have been wary to embrace.

The Weinstein effort to try to change the rating for this most recent transgender film demonstrates Hollywood’s real goal: to achieve maximum social indoctrination for its investment in these films. It’s not enough to just make a good movie anymore. Today, no movie is complete without requisite progressive messaging.