Around mid February, I watched the two most distinctive BDSM film in the same week. One with my friend J, one with my man. The two film talked similar theme with different context and background, and therefore received very different fate from one another.
The one I watched with J filled with a man and a woman, the woman was inexperienced and the man was “so-called” damaged inside despite great deal of wealth. He showered her with luxuries that ordinary people could not possibly afford, while grooming her to be able to adjust his BDSM preference. She wanted him with her own ideals of what love supposed to be, while she was able to adjust some parts of it, she began to grow fearful over his controlling ways – for example, stalking her all the way to her mother’s hometown. He often placed her in isolated state, secrecy left her impossible to consult others for the situation. Eventually she decided to leave, for feeling too overwhelmed by him.
The other one I watched filled with a woman who had been troubled by self-harm and a lawyer who has been dealing with his dominating nature, he was her boss. One night he saw her harming herself and resolved to stop her doing so, by giving orders to her on things to be done. The effect strangely turned her to better state, while families were worried for her. Eventually her boss feared his nature out of control and rejected her, yet she won him back by fighting her way and her patience.
Both film were equally pretty and lovely, yet I enjoyed the latter better for greater positivity and the characters seemed more equal.
Watched the American version of “The Girl with the Dragon Tattoo”,
you might wonder why now – as I never was in the mood of reading the novel, nor seeing the Swedish version of the film?
But I guess I just took years to feel like watching, since the theme involved heavily of violence toward women – from Lisbeth the main character to the woman who they tried to track down.
I adored Rooney Mara – she made a lot of drastic changes for this role, she was in the film as if she was the Lisbeth I imagined. The Swedish one wasn’t bad, but I liked Mara’s version for the contrast between her frail body and the extent of brutality she could carry out in return for the harm placed upon her. Her punk rock style also in part of my liking, as it reminded me of a character in Ai Yazawa’s NANA.
Daniel Craig was nice too, he was the kind of actor that can draw you to follow his every movement on the case. His interaction with Mara was heart-warming from time to time, even some were rather awkward to be put together.
The film clearly pictured the Swedish I was known through images etc that contributed to my stereotyped knowledge of Sweden, but it matched the atmosphere of the novel itself – the atmosphere of suffocation, preventing people to be able to break out or make a change.
In Hong Kong, SARA the film caused a load of stirs and talks because of this scene,
the scene was an actress call Charlene Choi and after years of playing sweetness and innocent, she plays in this film a woman who went through many problems, from being sexually assaulted by close relatives to having a sugar daddy. Sara was a woman she met in Thailand, whom shared a very tragic fate with C.C.’s character and C.C. wanted to save.
I must admit I am more than interested in her relationship with the sugar daddy, especially their interpretation from “sell & buy” to building up an actual attachment.
It also brought questions over Hong Kong’s issues, from government being corrupted and useless to all kinds of matters.
I would like this film to be shown in Film 4 one day…