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The Girlfriend Experience
The Girlfriend Experience (2009)
Dir. Steven Soderbergh
Starring: Sasha Grey, Chris Santos, Philip Eytan, Glenn Kenny
77 mins
New York.
Is the "Girlfriend Experience” the new pink?
For men, it may seem that way. Although so successful for centuries, even the oldest encapsulations of capitalism – prostitution – is forced to rebrand their corporative image and offered expertise. Back in the day, the transaction of money for sex was exactly that: money for sex. All en lieu with the stereotypical male ideal of sex to be uncomplicated, satisfying and all about them; in short “Wham, bam, thank you mam – oh, and keep the change!”. But the noughties have brought on many tantalising sociological phenomena, e.g. the seepage of the “extreme” into everyday activities, such as bodily modification (see genital piercings, tattoos, plastic surgery).
Another of these developments gave Steven Soderbergh the title of his 2009 ultra-indie film, ‘The Girlfriend Experience’; prostitutes, or let us use the more sophisticated term ‘escorts’, are increasingly expanding their repertoire to offer not just sex, but by popular demand: the “real girlfriend experience” to their customers. This involves going on dates, engaging in thoughtful conversation and soothing their client’s fears and sorrows.
The film follows the story of an upscale escort Chelsea, portrayed stoically by vet porn diva Sasha Grey, over five chronologically mixed up days, as she does exactly that. Thoughtfully she enquires about her customers’ wives and kids, affirming their views on whatever the topic; be it discussing “Man on Wire” or the down-spiralling economy. Viewers enticed by the juicy subject matter and stylish New York setting will soon find that “Erotica has left the building” - along with a decent storyline and believable acting. They were probably holding hands.
Getting used to the grungesque hand held camera quality of the film was by far the easiest part – Grey’s perky nipples and third grade acting, however, distracted the entire audience from taking this film seriously. Instead of reflecting upon the great deal of emotion work and self control that this job, or any job for that matter, requires from the characters and ourselves, and perhaps even mourning Chelsea’s loss of emotionality therein, we giggle sadistically at the creepy customers she has to “deal with”...
It seems that, after creating his four-hour long über-epic “Che”, Soderbergh was hell-bent on proving his arthouse skills. He succeeds surely in doing so, judging by its critical acclaim as a filmic “gem”, nevertheless the non-niche-audience will definitely be unable to see the sparkle past the cast’s shortcomings.
Nonetheless, the film’s subtle irony and Soderbergh’s implicit shuffling of timeline fragments reveal the character’s tragedy of loneliness and self-delusion. Whoever expects Chelsea to reveal her soul as readily as her body will be disappointed. Everyone else might see the film’s message of “Everyone’s a critic”.