Girlfriend Experience

Soderbergh satisfies because he is fearless in a way that Herzog could never be. Herzog goes toward danger in order to capture experiences, but he relies on cinematic methods and narratives models that are safe. Indeed, he never innovates or experiments here. As a result, we get lush operas about violent nature.

Soderbergh on the other hand seems ready to risk his soul, to destroy his career, to make an audience very unhappy if it allows him to surround his art. You never know; you never do. This is structurally less risky than the film he make with and about his wife, 'Schizopolis.' But it is about much the same experience.

The risk is only partially in building the character of a hooker around a genuine porn star. It is more in the assumption that close observation of the near-real will snap us into the ultrareal. Who else does this? Who else among successful filmmakers would put themselves on the line like this. Jarman perhaps, if he had been more widely seen.

And that is what happens. Because the insights here come not from what is written or what the actors do, but by what we see. The filmmaker is the character that is revealed because we define ourselves by the world we make. And he makes this, by looking for certain things between men and women. The killer risk is that he won't find it, or worse, if he does, he shows us who he really is.

The idea is remarkable. The we see through is actually interesting; he makes Sasha an attractive subject and casts his own foibles onto her boyfriend.

Ted's Evaluation -- 3 of 3: Worth watching.

I saw this film last night on its UK premiere at the National Film Theatre (although it had previously been given a preview showing to a sell-out audience during the London Film Festival last month). Sasha Grey, the star of the film, appeared in person at the end and participated in one of the longer Q&A sessions in my, admittedly limited, experience of these events in which she batted away questions, mainly about her adult film career, with the same show of glacial insouciance that her character demonstrates in the film.

The film which is a series of episodic vignettes about the encounters, both professional and personal, of a high-priced Manhattan escort girl set in the run-up to last year's US Presidential election is not really about prostitution either as a means of earning money or as a paradigm for the despair of the human soul.

What it is really about is speed-dating, not as an extra-curricular activity but as a well-rewarded existence. The film opens with Ms Grey leaving a hotel and getting into a car and giving a deadpan account of her previous encounter with a client. She prefaces her remarks by listing her complete outfit down to her underwear since this was obviously part of the client "package" which he has purchased, if only for a short time. This sets the tone of the film as being a triumph of, quite literally, style over substance.

This is a very sanitised world with no violence, no drug-taking and even no cooking although enormous importance is attached to meals, mainly taken in commercial premises, where many important conversations take place with Chelsea describing her situation either to clients, an alternately amused and bemused girlfriend (of the platonic variety), and to a journalist. In Chelsea's profession making intelligent, if superficial, conversation is as, if not more, important than her bedroom gymnastic skills.

Whilst Ms Grey's elegant Ice Maiden, a persona she has exploited with astonishing ability in her adult film roles, is eminently watchable the main weaknesses of the film are the character and the plot. Ms Grey and her personal trainer boyfriend are mismatched and seem to have nothing in common except vapid self-regard.

There is not so much a narrative thread as a series of threads that Soderbergh pulls out then almost immediately lets drop again. The scene with the boyfriend where Chelsea tells him she is thinking of going away for the weekend with a client put me briefly in mind of Paul Snider's jealous murderous rage towards Dorothy Stratten (who emerged from the softcore world of Playboy to be on the brink of a carer as a serious actress before her untimely demise) at the end of Bob Fosse's biopic of that tragic figure, "Star 80", but it is never developed and it never becomes clear whether they patched up their differences or parted company.

The most interesting scene and the one where Chelsea almost has a "Goodbar" moment is an encounter with a blog reviewer of erotic "services", the gelatinous self styled "Erotic Connoisseur" . This stands out in sharp contrast to the rest of the film as the dialogue is sharp and pointed and even witty, provoking laughter in the audience, as relief from the surrounding conversational banality. However part way through the scene fades and we do not learn the denouement until later when she describes it in a conversation with a client.

This is one example of how scenes crucial to the action are discussed rather than depicted. This may have some value in a documentary but it weakens a drama which should have both conflict and resolution and this has neither and instead is a few days in the life of a New York escort girl except Ms Grey isn't an escort girl in reality but portraying one in fiction.

Lastly, we come to Ms Grey herself, who I think will be the major selling point of this film particularly for those who have come across at least some of her other 180-odd films she has appeared in since the age of 18 which will never receive a cinema release. Soderbergh himself makes an ironic reference to this in the final scene where a mountainous Jewish jewellry store owner achieves release by merely being embraced by Ms Grey, clad only in bra and pants, just as many others have achieved release by being electronically embraced by Ms Grey through watching her films.

Ms Grey is the most intriguing figure to come out of the adult film industry and attempt a mainstream crossover since Traci Lords in the mid-1980s. Her svelte, dark-haired willowy appearance stands in sharp contrast to the blowsy, blonde, silicon-assisted features of previous adult film stars who have entered the wider public consciousness in more recent times such as Jenna Jameson.

Could Ms Grey achieve what Dorothy Stratten was on the brink of doing before tragedy intervened and become widely accepted as a mainstream actress? On this evidence she has a long way to go yet but this reviewer will continue to follow her career with interest.

New York City glamour, extremely real acting and scenarios followed by CNN circa 2008 mumbo-jumbo, annoyingly flashy cinematography, and wanna-be American Psycho depravity-in-materialism preaching. Rarely do it want to shut off a movie every five minutes, and if so, even more rarely do I find something to respect in the next five.

As to Sasha Grey and her acting abilities, I think she's OK at it. Many reviews scathe her for "deadpan", but I think that's what high-class dumb sluts actually are probably like. Pretty much empty. Making the most of what god gave them in a depraved way. To me it seems real. The "hooker's boyfriend" character was great, which is hard to pull off in my mind. I really empathized with this guy in a weird situation.

What's not real are the characters of many, though not all, of the "rich assholes". That's about as eloquent as Soderberg is with these characters, "They're just rich assholes" when "the rest of us are hurting" as we are reminded again, and again, and again.

The script and plot line isn't great, often forced by some contrived circumstance, and really goes nowhere in the end. Maybe 5 is too generous. I guess I was intrigued.

A brilliant little film, economic in its resources and smart in its complex editing. However, this is not destined to be a box office hit. It is the kind of film that Soderbergh does once in a while in-between pop flicks to avoid getting bored.

Sasha Grey delivers some good acting as an ambiguously shallow and ambitious prostitute who tries to survive the post-Obama post-Crisis world of depressed clients and worried boyfriend. Her relationship with her costumers and other professionals who are part of the escort world is built little by little in several out-of-order scenes. Most people will find the movie's timeline confusing, but all you have to do is pay attention to her wardrobe and everything will be fine.

I must also note the soundtrack, that makes use of very interesting unknown music. I specially liked the street drummer.

The images are beautiful enough to make one think "well, not bad for a movie shot on digital". Besides the old-school narrative (in the sense that it belongs more to the Bergman era than to the "Wolverine III" era) this movie looks and feels like the new kind of cinema that cheap digital shooting offers. And I like the way it feels.

IN A NUTSHELL: For Sasha Grey and Soderbergh fans and people who actually care about cinema language. If you like Soderbergh because of "Ocean's Eleven", stay away.

And don't get me wrong. I like those movies too: In the mood for love, from WKW. Genius!

But here... nothing does really work. First of all: Sasha Grey - she might be good at moaning and stuff, but as a real actress: she looks bored out of her frickin mind the whole movie! And that was how i felt the whole movie! Once again, not much happens in the movie, what would be fine if you compensated it with character development, or beautiful shots, or even some nice editing not to mention soundtrack. But nothing of that is really there. Im a big fan of fragmented editing but it doesn't work if you have no story to tell! Also the excessive comments about elections and the economics moment in the movie, will just make it look outdated in a few years. hell, i just watched it and felt it a lil outdated.

there's no commercial appeal in this movie, and no art appeal either. there were exactly 8 people in the theater besides me and my GF. And none of them seemed very enthusiastic when the lights were on again.