![]() I am more impressed with it because this film basks in the halo of an understanding female directorial and cinematographical gaze. The commentary on ‘seeing’ each other forms a primary aspect of their relationship and the world they inhabit as sex workers. In one scene, when Sascha walks up to the window naked and opens it for the world to see her, Maria tugs her in a blanket before making love to her. The lovemaking scenes between Hoya and Behrens’ characters are violently passionate but retain a loving tenderness to them. The ease with which she graces the screen reminds us of Eva from this documentary, the self-made, independent young woman of the modern 21st century who believes that sex work is a performance and she is a performance artist herself.Īlthough the film appears to be mostly shot in close-ups, with a sweeping stroke of blurred colors making it appear like an artist’s impressionist canvas (kudos to the cinematographer, Carolina Steinbrecher), the bodies on the screen are unapologetically real. She has previously starred as the titular lead in a 2019 German documentary, Searching Eva, directed by Pia Hellenthal. Adam Hoya is also a real-life sex worker and performance artist. It appears to be a safe house for the workers, a term that we can barely associate with a brothel and sex work from its many infamous depictions in pop culture. She is respectful of her decision and manages to keep the client away from her despite his insistence. In one of the scenes, when Sascha is lined up for a client introduction and turns away as soon as she sees him, she tells the administrator lady that she doesn’t want to attend to the client. The place is a little dingy, but it is well-lit and run by a friendly administrator lady. The common room where the sex workers gather to relax between their slots with clients finds them casually scrolling through their phones or talking about their previous workplaces. No one seems to be complaining or grudging about their work. I was fascinated to find out that Kull has actually shot this film in a real brothel with real-life sex workers. While this helps generate enough curiosity, in the beginning, to keep you glued to the screen, it quickly evaporates your patience in the later half of this 90-minutes-long film. Its understanding of the narrative is so unidirectional that the world around them, in and outside the brothel, seems like camphor. She doesn’t wish to be in contact with Maria anymore, but once you have fallen in love with someone, is it possible to deny yourself the blissful feeling it brings along? The story, however, fails to look beyond Maria and Sascha. ![]() ![]() ![]() Her easy and confident appearance soon crumbles in the face of societal stigma about homosexuality and sex work, making her vulnerability interfere with her affection for Maria. ![]()
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