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domino harvey wrote:I'm not sure if this is old news, but it was new news to me: This will not be released simultaneously on DVD like Bubble. The DVD comes out September 15

You can now wait two weeks less. DVD and BluRay (!) have been confirmed for September 1st.

This is currently available for viewing via Amazon Unbox, Xbox Live, iTunes and Comcast On Demand.

Just watched this earlier this afternoon through OnDemand. A few narrative and character-development issues aside, I think it worked and would say that it's one of Soderbergh's more interesting movies--definitely in the vein of sex, lies and videotape (and he seems to be directly referencing that film with a few scenes shot from the viewpoint of a peripheral character's video camera). I was surprised at how topical the film is and how directly it deals with current social issues, most specifically the economic recession. It occurred to me very early on that this film really isn't about prostitution per se but rather about economics--or, maybe more accurately, about the overlap between economics, intimacy/relationships, and sex/the body (the boyfriend of Sasha Gray's character is a personal trainer who makes a living, as does she, by catering to the bodily needs and desires of his clients, and who is equally concerned about job security). The personal-political stuff in the film, its fragmented narrative, its chilly, disaffected tone and its dealing with the theme of literal and metaphorical prostitution here seem reminiscent of Godard, especially Vivre sa Vie and Contempt (there's a sequence near the middle of the film that recalls the apartment scene in the latter, and Soderbergh's use of Gray could be compared to Godard's use of Bardot in that film).

I found all of this to be thought-provoking and entertaining enough though I can see where others will be bored/underwhelmed by the film. I found Gray to be a more than competent actress, even if the film left me wanting more insight into her character's motivations and behavior. The cameo by a very sleazy Glenn Kenny provides some (very dark) humor. I'm not sure which of his lines would have qualified as the "funniest in the film" though he makes a comment about white slavery that got a queasy laugh from me.

The pirates of China churned out this Dvd only 4 months prior to the actual release. I don't care much for this sort of techno-hip, scattered narrative jumping back and forth between ... what? ... conversations mostly. After a while I get tired of people half in the frame, only seeing one character from behind in conversation numerous times before his identity (not that interesting) is revealed, attention-seeking handheld and digital video work, etc. I especially disliked the home video vibe of the plane ride to Vegas scenes, which were partially-bleached out from the sun coming in through the window, seemed like the camera man was drinking along with the characters, and full of inane male bonding dialogue which I had to strain to catch. (and the pirates drop the ball on new releases by providing English subs translated back from the Chinese ... example, "Name of film: girl called in").

It was odd and mildly distracting how the dialogue switched from banal, seemingly improvised chatter to unnatural, overly scripted banter.
I also wearied of the characters who were all money obsessed and banal -- which I'm sure was the point, but grew tiresome. I was really worried early on when it threatened to go into early Bret Easton Ellis mode, as we get excerpts from Sasha Grey's diary in which she details the designer brands she wore on various escort jobs. Fortunately, that gave way. It seemed odd how lame most of the "johns" were, many not even managing or bothering to have sex with her. They were portrayed as successful losers who were too money worshiping and/or obsessed with the concept of having a hot chick to actually get around to banging the girl they are paying for. The point was made over and over that talking to a hooker was a form of therapy for these unsatisfied males.

Soderbergh makes two good choices in his depiction of this sexually charged world. SS eschews sex scenes, which tend to be too commonplace and boring in so many films from the past decade. And I also liked how we see Sasha Grey naked very early on in the film -- get to admire her trim lithe figure -- and rarely (never?) see her birthday suit again. It's a clever way of showing us that she has the goods, so not needing to keep presenting them. Also the audience doesn't get much action, just like her clients, while she remains a shielded, semi-clothed enigma throughout most (all?) of the film.

A tension runs through the film between revealing and covering up, exposing/shielding, public/private. There was also an odd tension between the semi-documentary style unfolding of the life of a call girl, with the distinctly arty background lighting, so that many scenes had red lights(!) or violet behind the conversational partners.

An hour in, two minor dramatic moments occur, leading Soderbergh to changes his palette to cold earth tones to capture the chill which enters her life, reflecting her disappointment. (though perhaps it didn't need to be underscored with her saying on the phone that she felt cold). I believe this was the only time in which Sasha Grey wears (hopeful) white, or at least off-white, in the film, as opposed to her standard designer black.

The use of music caught my eye and ear in a few instances. For much of the film, the MTV style music annoyed me. But at least twice, Soderbergh puts music into a scene and only after a minute or so reveals the source (street musicians, in both instances). I liked this play with diegetic/non-diegetic music, as the performances gave a resonance and power to the music.

Caught this and I enjoyed it quite a bit. As Lemmy said Soderbergh plays with diegetic/non-diegetic sound in interesting ways, and the music is cut-off mid-verse at times and it creates an off-putting sensation of suddenness within the film.

I found it interesting how large a theme the recession played in the film, both Chelsea (Grey) and Chris, her boyfriend in the film, spend most of their time trying to rise up their respective career ladders - Chelsea meets with an "escort reviewer" to attempt to gain a better reputation and raise her rates, Chris peruses new job opportunities and speaks with clients about buying more sessions with him. This film would make a fitting double feature with Wendy and Lucy as a sort of portrait of class differences within the economic downturn.

The influence of Antonioni on Soderbergh's shot compositions is apparent in a few scenes - such as a scene with Grey in medium close-up at the bottom of the frame with the NYC architecture clearly visible out the window and occupying most of the shot. I thought Grey did well with the material, she struggled during the most dramatic scenes - or maybe she was supposed to sound calm during the fight with her boyfriend - but overall her performance didn't weaken the film for me and I thought she was a good lead. The parts with her boyfriend I found to be the weakest aspects of the film, especially the home video quality of the trip he and his friends take to Vegas, my frustration with those parts was also exaggerated by the dialogue which was basically a bunch of guys spouting the basic relationship banter about sex.

This is my first Soderbergh "b-side" and I think he functions well in this independent environment with unknown actors. Ignatiy Vishnevetsky's review touched upon some interesting points, that the film - and Soderbergh as a director - is neutral to its characters, viewing them as simply commodities, and that when Soderbergh films something like a conversation in a cafe with traffic in the background, that his camera is focused on the traffic as much as the conversation, maybe even more so. I can agree with such a perspective after watching tGE, but this is a film I'll want to revisit to see if that impression remains the same.

They're actually using Hoberman's quote in the ads:

"It's a Hall of Mirrors. Sasha Grey isn't the first porn actress to go straight, but she may be the first to allegorize her own situation."

Great snippet from Ebert's review:

Ebert wrote: Chelsea is played by Sasha Grey. She is 21. Since 2006, according to IMDb, she's made 161 porn films, of which only the first title can be quoted here: "Sasha Grey Superslut." No, here's another, which makes me smile: "My First Porn #7." I haven't seen any of them, but now I would like to see one, watching very carefully, to see if she suggests more than one level.

Her best films are definitely Anal Cavity Search 6 and Sasha Grey's Anatomy.

Fiery Angel wrote:Anal Cavity Search 6

I don't know what exactly they're looking for in there, but if they haven't found it by the sixth installment, they're probably never going to

Oh, they've found it

They find it every time

That's why they keep coming back

AV Club interview with Sasha Grey.

domino harvey wrote:

Fiery Angel wrote:Anal Cavity Search 6

I don't know what exactly they're looking for in there, but if they haven't found it by the sixth installment, they're probably never going to

Too bad Sasha hasn't starred in any installments in the Weapons of Ass Destruction series--her talents are best utilized in a film not directed by Steven Soderbergh.

The film was so topical that not only is the financial crisis a recurring theme, but also two characters discuss a movie they've just attended, and after a bit we learn that it's Man on Wire.

Soderbergh on lighting the film.

Here's an interview with Soderbergh on salon.com, with links to a (safe for work) video interview with Grey.

I thought this was very good, not just in talking about the current crisis, but also as a study in how people interact. The way characters bounce off of each other, or rather don't, was amazing. I was really surprised that I could feel for this character by the end in the way I did. Another point to Soderbergh.

Spoiler

The nonlinear flow did bring up one confusion though. Is the man who Christine tells of here experience with the blogger the same one she falls in love with? I'm pretty sure he is, but would like some clarification.

Lemmy Caution mentioned the street musicians. The drummer is Shakerleg (awesome), and the couple singing about "everyone's a critic" is Freedom Tickler from Brooklyn (awesome as well). Apparently they were found playing in the subway by a Soderbergh scout. Very cool, I think.

I wonder whether Canadians would have a chance to see this before the DVD release.

I'm actually embarrassed that I don't recognize Ms. Grey, especially since I indulge in the odd "D" movie fairly regularly.

This was all right. A step down from Bubble; maybe I just don't find city-dwelling stockbrokers/johns as compelling as working class people in flyover country. It had a bit of a mid-60s Godard feel with the constant association of money/sex capitalism/prostitution and constant references to current events, but it felt a bit forced, or at least didn't seem to add very much. I thought Grey was pretty good overall, the only really awkward bits coming when she had to recite dates and catalog what she was wearing - just didn't feel natural coming from her. Glenn Kenny was awesomely sleazy.

Luckily this was playing at a theater that is a 5-minute walk from my house, so door-to-door was just 90 minutes.

Anyone who thinks there is anything realistic about the perfs or dialogue is delusional.

The Sashter is terrible beyond belief, and accordingly perfect. I will be very surprised if she ever "acts" again.

Very awkward and cringeworthy overall, like something a 20 year old Iowan trust-funder on his first trip to Manhattan might shoot with a bunch of his Soho-dwelling uncle's friends.

Soderbergh's best film after The Limey.

Lemmy Caution wrote:The film was so topical that not only is the financial crisis a recurring theme, but also two characters discuss a movie they've just attended, and after a bit we learn that it's Man on Wire.

Better, they had seen Man on Wire at the Sunshine, where I saw it, and indeed was watching The Girlfriend Experience. That got a laugh, though the biggest reaction of this type I witnessed was the crowd at the Waverly (RIP) going totally nuts during a Carlito's Way screening at the full on shot of the Waverly in the movie.

More seriously, one of the best things about the GFE was it portrait of a part of New York at a very specific time. Decades from know GFE will be a treasured artifact as a portrait of New York at a very particular moment. The Landlord (1970) immediately comes to mind as another such example.

As a Soderbergh picture, it's editing, feel, use of music reminded me of The Limey (which is my favorite Soderbergh film).

Broke in the local art house theatre with a screening of this film this afternoon and I walked out with the same shrug as everyone else in attendance. Aside from the already mentioned excellent use of music and the typically-interesting "Peter Andrews" cinematography, this was a pretty one-note, one-dimensional pisstake from Soderbergh. I thought the "Erotic Connoisseur"'s critique of Grey's character summed her up quite nicely, but such vapid nothingness, coasting along on good looks and not much more also describes the film a little too well. I do wonder if Grey has any idea of the degree to which Soderbergh used her own image against her in the film, because I'd be anything but flattered were I in her position and offered this film.

domino harvey wrote: because I'd be anything but flattered were I in her position and offered this film.

Do you know some behind the scenes info Domino. Exactly what position was Ms. Grey in, when offered the film? :-k