Female Perversions

A surprisingly compelling artsy-indie type movie. I usually dislike obtrusive direction, including weird fantasy sequences, but these worked quite well here. This appears to be a consciously feminist project, as the directing, writing, and producing credits are almost all female, as well as all of the important characters. The cast was full of incredible actresses. The point of view character is played masterfully by Tilda Swinton, who was intense but yet confused and damaged. Amy Madigan nailed her also damaged character. Other supporting actresses who are excellent in their parts, and beautiful to boot, include Laila Robins, Frances Fisher, Paulina Porizkova, and especially Karen Sillas. Definitely worth seeing.

By now we are used to it, when sexuality is involved, the judgments are conflicting, perhaps tending towards denigration. We should reflect on this, without disturbing psychoanalysis, but it is a fact. Everything is accentuated if the topic concerns the female sexual sphere. It will also happen in 2008 with Valérie - Diary of a nymphomaniac always directed by women. Perhaps a doubt arises on the fact that perhaps women are more "capable" of tackling the subject than male directors, whose production with a porn vision borders on the ridiculous! Duty premise to talk about the film in question which is inspired by an essay by the late psychoanalyst Louise J. Kapplan Female Perversions: The Temptations of Emma Bovary. Kapplan, it should be remembered, was the leader in the 1960s, in the demand of the nascent feminist movement, for a sexuality free from the oppressive bonds of a fundamentally phallocratic society. Streitfeld made her the thesis, expressed in the essay, that female sexuality, although free to express itself, is not immune to the impulses it has to deal with. That she then succeeded in transferring this reflection into the film is a cause for debate, but we cannot deny the courage to have proposed a thorny and easy subject to criticism, and she deserves the credit for having chosen an actress like Swinton. perfect in the role. All this leads to a positive evaluation of the film, although not free from some stylistic and writing imperfections!

"Female Perversions" is short on story and long on character as it peers into the life of an ambitious attorney (Swinton) who is far more confident in a courtroom than in her own insecure and sexually needy personal life. Apparently a sort of testament to the female condition, this flick by women about women surrounds Swinton with a conglomeration of neurotic females as it plods doggedly through a maze of peculiar behavior. On the upside, this deep character study offers some excellent performances as it explores its dark and aberrant landscape. On the downside, the film is a little over-the-top and glommed up with symbolism, dream sequences, and excursions into the surreal. Lacking in story, unpleasant in subject, and artsy-fartsy in execution, the common filmgoer may find this flick unsatisfying. However, for those into deep character studies and psychodramas, an interesting watch awaits. (B)

The idea that a career driven woman finds herself disconnected from emotions, vacant in today's society, is the subject of at least one daytime television program daily. The presentation of Evelyn Stevens (Tilda Swinton, of Orlando fame) in Female Perversions, is not the sugar-coated world of The View, but a carefully crafted life-study (accurate to the minute details).

Evelyn is an attractive woman, she believes herself a beautiful one. She inappropriately wonders through a shop while trying on a revealing piece of underwear, but the only one available is a disinterested octogenarian. She is a competent attorney, yet she represents herself as a premier legal strategist. Her credit card is rejected while making the simplest of purchases, she drives a SAAB 900 Turbo-the whole thing is perfect.

Further insight to Evelyn's internal monsters are seen though the film's portrayal of her sister, Madelyn-the good soul to Evelyn's evil one. She has chosen a more bohemian existence, and calms her internal monsters through adventures in kleptomania.

Let's recap: Driven woman, faux life, dysfunctional family, bad credit cards, soon to be made a judge (with no one to tell, and no one who cares). There is only one place left for her to go.

To a deeply invested lesbian encounter. Where else can she go? Her entire life as it stands is moments from implosion. The realization that the new lawyer entering her firm (her ‘replacement') is prettier (Paulina Porizkova, no less), smarter, and likely more stable further pushes Evelyn to the inevitable.

Wonderfully cast with Amy Madigan (as the sister), Karen Sillas (as the Doctor/Lesbian love interest), and Clancy Brown (as the boyfriend) in a rarely seen beefcake role. Throw in Frances Fisher and Laila Robins for good measure.

Must for all art film fans. Highly recommended for the more mainstream tastes who like a small distraction now and then.

While viewing FEMALE PERVERSIONS, I began to wonder if I was losing my mind. For whom was this film made? Who put up the money to make this film? FEMALE PERVERSIONS is pretentious piece of clap trap masquerading as something deep and meaningful. Woman have it rough competing in male dominated society and men are responsible for all of woman neurosis seems to be the message. Ho Hum! Where have we heard that before?

Just about every character in this film is angry, nasty, neurotic, and unpleasant, except for teenage "Tomgirl" named Ed, who is just a little mixed up. The scenes of Eve's dreams and hidden memories are down right laughable, like the kind of stuff found in some over indulgent student film. The film has not coherent plot, just a lot of incidents. And would somebody please explain the ending?

There are some people who praise this film because it deals with characters searching for their identity, but most of the characters come across as so self absorbed that they evoke no sympathy. The film puts an emphasis on getting in touch with ones "feelings." But when one constantly dwells on his/her feelings, its leads to selfishness and hedonism, a point the films makers seem not to be aware of.