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Reviews (4)
13 May, 2017
A male dancer is abducted and abused by three dominant women
By any measure, Ana Kokkinos's new film tells a bizarre tale. But the strangest thing of all is its Melbourne setting. For once we have an Australian picture that treats sex as the main event. In the downbeat way of Australian film-making, the sex act is so often treated as a joke, an afterthought or something to do instead of going to the gym.
It's also a tale that doesn't bear telling. At least that's the way it's regarded by its hero, who is also its victim. He's a dancer and choreographer whose performances have made him moderately famous for his grace and beauty. He is about to open in a new production when he's ambushed, drugged and abducted by three women, their identities concealed by black masks and cloaks, who hold him captive for 12 days, while subjecting him to an array of sexual abuses. When they finally set him free, he's still ignorant of their identities. So it will hardly surprise you to learn that he has difficulty in thinking of a credible way to tell his girlfriend or the police what has happened to him. Instead, he remains silent, transforming injury into obsession.
The film is based on a novel by Rupert Thomson, who set the story in Amsterdam, a city where the appearance of three black-robed and hooded women striding along the street may seem unremarkable. In the book, the dancer Daniel (played by Tom Long), thinks he has stumbled on a bit of gothic street theatre until he is jabbed with a hypodermic needle and knocked out.
In the film, this event is transferred to a sunny day beside the Yarra and, because of the notoriously laconic character of Australia and Australians, it somehow fails to pack the same punch. In fact, it skids dangerously close to parody.
Kokkinos has a formidable talent for the heightened sensation. In the moments leading up to the assault, percussive instruments, fluttering pigeon wings and the magnified ticking of a clock in a shop window are all given Hitchcockian parts to play, but the result adds up to hard work rather than heavy menace - the creation of suspense as an intellectual exercise.
Co-written by Kokkinos and Lantana's Andrew Bovell, the script rearranges Thomson's narrative to unfold in gradual flashback the mystery of Daniel's lost days. When he first goes missing, the perspective shifts to those left wondering where he is. There's his lover, Bridget (Anna Torv), who is also his dancing partner - a cool, self-absorbed character whose imperiousness leaves you in no doubt that at least one dominant woman has already muscled her way into his life. And there's Isabel (Greta Scacchi), who runs the dance troupe. His mentor and surrogate mother figure, she's ready to believe he would abandon Bridget, but not his work.
There are things to admire about The Book of Revelation. Ana Kokkinos is a real film-maker, and at times her film is a visually stimulating experience: in the dance rehearsal scenes in the beginning with their vibrant colours, in the blacks and greys of the imprisonment scenes, in a late sequence where Daniel pursues a woman he believes to be one of his abusers. The use of sound is excellent as well, from Cesary Skubiszewski’s music score to the directional sound which becomes a plot point.
19 Apr, 2017
My Mistress brings the French BDSM underground to suburban Australia
1 of 1 found this helpful Harrison Gilbertson plays Charlie Boyd, a teenage loner who threatens to go off the rails after his father's suicide, which he blames on the infidelity of his mother (Rachael Blake), a loose cannon in her own right. Charlie needs an outlet for his frustrations, and he finds one when he stumbles upon Maggie (Emmanuelle Beart), an exotic French beauty of a certain age, loitering in the local park in leopard-print regalia. Naturally, he's instantly smitten. "Are you a witch?" he wants to know, eyeing her pentagram tattoo. Like a stray dog he follows her home, which proves to be a mansion complete with stained-glass windows and arched staircase. Maggie is a professional dominatrix, but Charlie isn't quite a would-be client: once she accepts him into her life, the pair establish what is best described as an unconventional friendship, with overtones of parent-child as well as mistress-slave. Among other things, this involves formal tea parties punctuated by ritualised violence, a tacitly shared glee underpinning their commitment to the game. Images cast fantasy and reality spells, the blurring of which is represented in various guises such as a reference to James Dean in Gilbertson’s image, Beart’s costuming, above and beyond the scenes of Maggie dressing up in black latex and treating men like dogs, the frequent interplay of mother and son between Charlie and Maggie, Robert Doisneau’s “Kiss” on Charlie’s wall and most of all a valkyrie painting depicting the very serious moment when pain and pleasure converge. The camera lovingly caresses the painting in the opening credits and we see it later on the wall of Maggie’s BDSM dungeon. If clichéd tropes might be a little staid, then the psychology is dead on, very accurately portraying why a non-fetishist might be attracted to this world, particularly when they are in emotional pain. My Mistress is an excellent film, beautiful to look at and filled with the promise of a fine filmmaker.
18 Feb, 2016
5 stars! A must for your BDSM collection
Steele's book is thoroughly researched and does an excellent job of placing fetish fashion in a historical context. The pictures in this book are fantastic. Tons of imaginative leather, latex and rubber outfits. The fascination with fetishist garb? corsets, underwear as outerwear, the use of "kinky" fabrics like rubber and leather? among prominent contemporary designers may, she proposes, signal our own culture's willingness to blur the boundaries between the "normal" and the "perverse."