Prodigal Sons opens with filmmaker Kimberly Reed returning to her Montana hometown to go to her high school reunion. The reunion was the first time she had seen her classmates since transforming from Paul McKerrow to Kim. Initially, a side story is her reunion with her adopted brother Mark who was in a serious car accident at 21 which required the removal of part of his brain which resulted in serious behavioral issues.

Seemingly to the disappointment of Kim, her classmates were very accepting of her new identity, leaving not much to explore for the film. Prodigal Sons then switches to focus on Mark. The film presents a complex relationship among the siblings (which also includes their brother Todd who doesn’t appear much in the film). Mark was left behind a grade early in school putting him in the same class with Paul who was a successful student and athlete. Mark clearly resents his brother’s success and never came to fully accept his transformation.

Part of the film is dedicated to Mark’s search for his biological parents. He discovers that his mother is Rebecca Welles, making Orson Welles and Rita Hayworth his grandparents. This discovery temporarily gives him some sense of importance. Unfortunately, this positive turn does not last very long.

Prodigal Sons is fascinating at times, but often feels exploitive of Mark’s condition and his violent tendencies, especially toward the end of the film which includes extended scenes of his violence toward his family. Prodigal Sons provides some interesting insights into gender identity and mental illness but never goes deep enough and favors drama over depth.