Shaun Celebrates Mad Max Fury Road and its Feminism in Disguise

Mad Max: Fury Road is the best movie of 2015 and one of the best action movies of all time.  A majority out there, while not necessarily agreeing with that statement fully, will nod their heads in understanding for where that sentiment comes from.  But, when a film gets the kind of praise Fury Road has since its release it will have its fair share of backlash.  It’s understandable.  Part of human nature is to feel unique and contrary opinions are one way to achieve that.  A person can be in a bad mood upon first seeing a film most love.  Then there’s the fact that the hype surrounding some films (as well as bands, books, foods, and nearly anything one can have a positive feeling toward) is so intense that nothing can ultimately live up it.  This could very well be the case where Fury Road is concerned.

To explain at least partially what I love so much about Mad Max: Fury Road, I’ve realized while trying to organize my thoughts on the movie I could probably write a novella length piece about it and no one wants that, I’ve taken some of the most common complaints I’ve heard aimed at the movie in an attempt to replace some of the negativity with appreciation.  I don’t expect to convert anyone through this article as film appreciation is such a subjective endeavor, but I can at least hope for understanding.

Fury Road is just a two hour long car chase

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This complaint is the one I hear perhaps the most, and it’s also a great place to start since it sets up a discussion of why Fury Road is such a unique film.  I often respond to this complaint when I’m in one of my more snide mood with, “Yes.  That’s the point.”  I think this complaint comes from people who are more comfortable with and find more enjoyment in story telling which relies on dialogue.

The word “movies”, though, is a shortened slang word derived from what they were originally called – moving pictures.  Movies as a storytelling device was a happy accident (though, possibly an inevitable one) as the original intent for the invention of film was closer to a photograph than a novel or a play.  The earliest movies created to tell a story were silent, and therefore had to rely entirely on visuals to get their account across.  Eventually someone came up with the idea of using title cards for dialogue, and shortly after that sound-on-film was invented, but at its core movies are moving pictures.

Mad Max: Fury Road isn’t a silent picture by any stretch of the imagination, it’s actually quite noisy, but it uses dialogue sparsely relying primarily on images and action to tell its story.  In making Fury Road George Miller understood that while there are many ways to create a narrative, only film can use images captured over large and myriad areas from any angle as a means of depicting his.  His being said two hour long car chase.

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There are many reasons to tell a story which is essentially just one long action sequence, the first of which being exactly that.  How cool is it to craft one long action sequence?  The story is driven not by what people say, but by what people do.  Talk is cheap, and a picture is worth a thousand words, and all that.   Sure, occasionally a command is barked but little time is wasted on people speaking about their feelings or their motivations, those are shown in the most direct way possible – through the actions the characters take.

Beyond the fact that Mad Max: Fury Road fully takes advantage of the medium of film by being almost entirely composed of action, there is also the fact that making an entire film from what is normally a single beat in a standard film adds up to a truly unique experience.  It makes for a film that, in a literal sense, very rarely slows down.  The start, the finish, and during the act breaks we get an opportunity to leave the vehicles and get a little expository and character building dialogue in, but outside of those four short sections the characters, the story, and thus our attention never slows down.

This a brave decision because it had the chance to alienate a good part of its intended audience (and, I think it actually did do just that which is part of the reason I felt compelled to write this piece) and it forced the writers to get across character development and themes in the middle of a whirlwind with little speech.  The fact that they not only accomplished that, but did so in a manner more loud and clear than a great many character pieces let alone action films, is a great testament to their talent.

There is one more very important reason the film makers made the movie one long car chase.  But, that reason ties in more closely with my discussion of themes which will come along a little later.

Everyone in in the post-apocalyptic world has great hair and make-up

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The Mad Max movies portray a world in which the last humans are trying to survive on an Earth with little food and water left, in which gasoline is more valuable than any precious metal or gem, and where gangs impose their power on the weak where they can and join together with would be dictators when they become the weak themselves.  They also all apparently have attended cosmetology school and have access to whatever makeup and hair styling tools they want.

Or do they?

If you remember, when Max is discovered at the start of the film, his hair and beard are overgrown, tangled, and matted.  He’s dirty and I imagine if a film could convey smell we’d all be grateful that the opening scene is over quickly.  Once he’s captured, the first thing the War Boys do to him is shave him, wash him, and brand him and once the action starts in earnest he’s freshly cleaned up.

Furiosa has lived most of her life in The Citadel as one of Immortan Joe’s lieutenants, and so has had access to plenty of clean water to wash with.  Plus, she shaves her head so hair isn’t an issue and she doesn’t wear make up.  She just happens to be played by Charlize Theron, so of course she’s incredibly beautiful even without the normal trappings, but that’s bone structure and other genetics, not the result of being dolled up.

The War Boys, Immortan Joe, Nux, and the other denizens of The Citadel all exist in various states of ragged dress, skin disease, and uncleanliness depending on their position within the society and their age.  The young War Boys look the most fit, but even they shave their heads completely and cover themselves in a white chalk.  The elder leaders of The Citadel have boils, cysts, and oozing sores.  The commoners in The Citadel have it worst of all, bent over, covered in grime, skinny, overgrown, the throngs of The Citadel not able to fight for Immortan Joe exist in state which can barely be considered human by the standards of here and now.

Which brings us to Toast, Splendid, Capable, and The Dag collectively known as “The Wives” who are the real target of this complaint.  The Wives do have impeccable hair, make-up, and skin.  This is because until the start of the film they were considered the property of Immortan Joe, the god-king of The Citadel and controller of the entire region’s water supply.  He makes sure they have the best, but he also makes sure they look the best since they are his personal baby factories.  Sex slaves.  Their appearance is essential to several Mad Max: Fury Road‘s themes, plus it just makes sense that the people of The Citadel would make absolutely sure the Wives always looked the best the possibly can to keep their master Immortan Joe pleased with them.

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So it’s not that everyone has hair stylists and make-up artists on their personal payroll.  It’s that Fury Road understands and has something to say about social classes.  It’s not something I’m going into any more detail in this particular article, but the reason people look so good post-apocalypse is George Miller saying in effect the more things change the more they stay the same.  The rich and powerful keep people as toys, and they want their toys kept in peak condition.

It is weird that with so many high-powered, large-tired motor vehicles moving at top speed through the desert that every single character isn’t covered in sand and dirt a few minutes into the chase.  If you want to make that complaint, I’ll give you a side eye for nitpicking but will grudgingly agree.

The movie is named Mad Max: Fury Road, but Max doesn’t do much

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Max has not been the focal character in any of the Mad Max films since the very first installment, and even that one could be up for debate.  The Mad Max films are more about the world they take place in and why George Miller feels that is a world we are hurtling toward if we don’t change our ways than they are about any of the people inhabiting that world.  Max has always been closer to a very active narrator than a protagonist, he brings us to the stories, tells them, but they are not his stories.

The popular opinion is that Furiosa is the main character in Mad Max: Fury Road.  It is she who who rescues the Wives, she who steals the War Rig, she who teaches the Wives to be strong, she who leads the group, makes the deals, and she who ultimately kills Immortan Joe and becomes the leader of The Citadel after great personal sacrifice. Those are all the traits of a hero, and normally the hero is also the protagonist.  But, while she is a paragon and of utmost importance to the film’s themes she is not the main character, either, as she doesn’t have a character arc.  She begins and ends the movie in the same place, literally and figuratively, and she makes that place better for everyone around her.

My more unpopular opinion is that the War Boy Nux is the main character in Mad Max: Fury Road.  Nux begins the movie an aggressive man-child eager to be noticed by Immortan Joe who has promised his War Boys a place in Valhalla if they fight well for him.  Nux is told to stay home by his superiors instead of joining the war party going after Furiosa because he is not well (for some unrevealed reason).  Nux, however, insists that his newly captured blood bag, Max, has strong blood and as long as Max can keep giving him his blood infusion (against Max’s will) he’ll be fine to join the party seeking to recapture their god-king’s sex slaves back from the evil woman who stole them.

Nux finishes the movie sacrificing his own life to be sure the horde of hyper-aggressive men he was once proud to be a part of won’t be able to capture the women whom he now loves and respects so they can retake The Citadel now empty of the warmongering horde and turn it into the paradise they were seeking elsewhere.  Now that’s a character arc, and it is all handled organically through visually focused story telling.

Why Mad Max: Fury Road is a movie worth celebrating

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As I in my opening, I could go on and on about Fury Road.  I haven’t mentioned its spectacular, Oscar winning art direction.  I could put an entire section on how in an age of CGI laden visuals Fury Road returned to stunt work and practical effects.  Fury Road out actions most action movies without cheating (okay, CGI isn’t cheating, but you get the idea), but what really sets it apart is what it has to say and how it says it.

We have a film in which powerful men control the world’s most important resources and dish out just enough of them to the people to keep them from revolting while also controlling the masses through false proverbs and promises of an afterlife.  These lords are powerful enough that they naturally feel entitled to anything they want, including other people, and they pass this sense of entitlement on to those closest to them in their hierarchy.  A powerful woman who was stolen as a child from her clan of all women who lived in a paradise is now mature and experienced enough to see the evil her master is doing, and decides to free the women he keeps as sex slaves and take them away with her to the green place of her childhood where they can join and be protected by the matriarchy rather than mistreated by the patriarchy.

She means to sneak away, but she’s found out and every man able to drive a war vehicle and fight soon comes after her.  One of these men brought along against his will joins her crew, and soon after one of the War Boys also joins her after disappointing the lord who promised him rewards after death and finding he respects the people in this band more than those he grew up with as they are kind, forgiving, and thoughtful in addition to also being strong willed survivors.

When the woman and her crew find that the green place no longer exists and barely a fraction of the matriarchy are still left, they decide to go back to The Citadel from whence they started and take it over for themselves now that the warmongers in charge are all outside The Citadel chasing them.  The sex slaves learn they can fight against their captors and the woman and former War Boy make sacrifices, the War Boy the ultimate sacrifice, to stop the war party and their leader in its tracks.

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So, put that all together and what we have is a film about literally and metaphorically removing the toxic masculinity from a society, and replacing it with more feminine ideals to heal the damage done to it by aggression and entitlement over the decades.  It shows us this through the state things have declined to under the men who lie, coerce, and bully to get their way and contrasting that with a woman who is just as powerful but was brainwashed from childhood to believe what the rest of society believes and now realizes the error of those beliefs.  It gives us a boy who is just another cog in a machine to be used by his master, and thus is filled with this contagious toxic masculinity, but who becomes loved and respected once he is able recognize the poison inside of him and release himself from it, and revered when he acts out of love instead of out of greed and entitlement for the first time in his life.

Mad Max: Fury Road tells us that the green place actually is within our grasp, and it’s closer than we think.  It’s right here.  But, to get to it, we have to remove the toxic masculinity which has been controlling our religions, our governments, our economics, and our entire way of life for centuries and embrace the feminine.  It’s not about hating men.  Men are essential to the human race’s success.  It’s about letting the women have at least an equal voice, maybe more until we can achieve some type of balance between the masculine and feminine voices.

Mad Max: Fury Road gives us the most feminist of messages wrapped up in a style and genre which most appeals to the hyper-masculine.  It uses action and visuals, not words.  It uses spears, and fast cars, and amazing stunts instead of soliloquies and serious facial expressions.  Mad Max: Fury Road is a feminist film masquerading as the toxic, supposed alpha male’s most desired fantasy.  It delivers its message not to the choir, but to those who most need to hear it, and in a way in which they want to listen.  That’s what makes Fury Road so brilliant and worth celebrating.

 

Molly’s Game (Sorkin; 2017)

The only screenwriters in Hollywood who have household names that I can think of are also either actors or directors, as well, save one – Aaron Sorkin.  Even if you’re not familiar with what he’s written you’ve almost certainly heard his name, but what he is known for is political drama with some of the snappiest, wittiest dialogue around.  He’s probably most famous for The West Wing, A Few Good Men, and The Social Network, but even if you haven’t seen one of these you have still likely seen something he’s written and were struck by his too smart and too thoughtful to be true characters spouting off funny and poignant one-liners at a mile a minute.  Now, Sorkin brings us Molly’s Game, but this time he wasn’t content to just write the screenplay.  For the very first time, he got behind the camera and sat in the director’s chair himself.

Molly’s Game the movie is based on “Molly’s Game” the book, the autobiography of Molly Bloom.  Molly Bloom was an Olympic level downhill skier who had to drop out of the sport and through the series of events covered in the book and film became a power player by running a regular poker game for some of the world’s biggest power (and poker) players.  It’s a fascinating story about a woman so strong-willed and intelligent that she can be within spitting distance of achieving her dream, lose it all, then climb right back to the top again with nothing, not even a dream nor a real plan, but just whatever happens to fall in front of her.  Plus, she keeps her integrity and sticks to an ethical code on top of it all.

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Sorkin went with Jessica Chastain as the titular Molly Bloom.  I think I am in a minority when I say this, but I have never thought Chastain is a good actress.  She’s incredibly stiff in her delivery of dialogue and her stone face doesn’t help at all which essentially makes her a more voluptuous Kristen Stewart.  What Chastain is good at aside from choosing scripts (she may not be a fantastic actress, but the film’s she is in are for the most part wonderful), however, is speaking quickly with good enunciation and intensity.  Since Molly’s Game is written by Aaron Sorkin it takes someone who can do exactly that, and after having now seen this film I believe that Jessica Chastain could be the greatest mouthpiece to ever have delivered Aaron Sorkin’s dialogue – it plays perfectly to her strengths and vice versa.  Even her voice-over narration which is used throughout the entire film and which I usually perceive as a crutch which hurts a film is used excellently allowing us to enter the mind of the main character without having to break her tough facade or pause the rapid fire pacing of the film and its dialogue.

As for the other actors and their dialogue, none are quite so perfectly matched as Chastain, but all give excellent performances.  Michael Cera as “Player X” (who is actually Toby Maguire if rumors are to be believed, but no celebrities are named in the film) is the best at delivering Sorkin’s machine gun style dialogue after Chastain, surprisingly, and showed a talent at portraying a smugly confident scumbag I didn’t realize he had, though I probably should have.  Idris Elba and Kevin Costner are also both fantastic, but neither seem to be delivering Sorkin’s dialogue in the manner we’re used to, which makes me think they must have adapted Sorkin’s words to fit their own personal style and this is not a problem, this is a testament to just how talented these two are and how well they understand their craft.

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As for Sorkin, is he as talented a director as he is a writer?  Of course not, but he does show wisdom in his direction by sticking to what he knows, i.e. dialogue and story, and by not doing much to show off where visuals, editing, and other more subtle directorial duties and decisions are concerned.  The art direction is well done, Sorkin has a definite eye for city skyline shots, and he does allow himself some stylistic panache in the film’s opening, but overall what we have is a very straightforward directorial style which doesn’t really set itself apart from any number of newly out of film school directors.  He lets his writing be the element that does that.

The thematic elements of Molly’s Game are incredibly timely.  The main takeaway from the film is its depiction of a woman who understands the power games men play and manages to sidestep all of that by playing her own game and never allowing herself to become a part of theirs, not purposely, at least.  Without spoiling anything, it’s the moment Molly gets drawn into the games the men play and not just hosting them in her own that her world begins to implode.  (Since the entire film is interspersed with her meetings with her criminal defense lawyer, it’s not a spoiler to mention that implosion.)  While sexual harassment is barely even touched on in the film, it’s because they show how well Molly understood sexual politics and power and absolutely would not let those elements tarnish her game and that anyone not willing to leave that shit at the door would not be welcome back.  It’s a wonderfully practical feminist message that doesn’t depend on idealism and inspiration to get across but shows a real-world example of just how a woman can establish her own power under her own rules without men trying to undermine her nor really even notice they aren’t in control of the game.

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Final verdict:  In a year of feminist films, Molly’s Game manages to make its mark by giving the most practical and realistic portrayal of feminism of any of them and has Aaron Sorkin’s dialogue and storytelling to make that portrayal fast-paced and gripping.  All the performances are wonderful, even Jessica Chastain who is surprising in just how proficient she is at the delivering the quickly paced witticisms of an Aaron Sorkin screenplay, and Aaron Sorkin’s directorial debut shows why he’s a true professional by not trying to bite off more than he might be able to chew.  Molly’s Game is a phenomenal story with some of the best writing of the year, and is one I absolutely recommend.  It’s not necessary to see it in theaters, but if you do decide to pay full price for it you will not be disappointed in the slightest.  Molly’s Game is worth it.

 

 

 

Battle of the Sexes (Dayton & Faris; 2017)

The story of Battle of the Sexes is a very well known one, well enough that I am going to be a little more free with spoilers in this review than I usually am so consider yourself forewarned on that front.  Battle of the Sexes is a biopic telling the story behind one of the most famous tennis matches in history – the one between fifty-five year-old Bobby Riggs (Steve Carell) and twenty-nine year-old Billie Jean King (Emma Stone) which was broadcast to nine million viewers and became a symbol of the entire feminist movement in the United States.   The film starts on the day Billie Jean and her agent Gladys Heldman (Sarah Silverman) find out that the Pacific Southwest Tournament was offering the women participants 15% the prize money men were getting despite the fact that women drew just as large of a crowd as men did for their matches.  They and many other female pros boycott the tournament and start the Women’s Tennis Association with its own tour, and with the first shots fired our story begins.

It goes without saying that Battle of the Sexes has strong feminist themes.  The entire story focuses on a group of women led by one particularly talented and popular woman who decide they’ve had enough with the rules men set down for them, then go on to prove in no uncertain terms that they can get along just fine on their own without the men getting involved, thank you very much, and not only that but that they can literally beat the men at their own game.   It’s also an excellent hindsight view of where feminism stood at the start of 1970’s, a movement which already had a lot of attention and momentum, but which was largely being seen as a faze and something of a joke by the men in power who honestly could not understand what women were upset about.  This story is about a lot more than just feminism in the ’70’s, though, and Battle of the Sexes does its job of showing us the other myriad forces involved admirably.

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While women’s rights were at the forefront of the American consciousness at the time, gay rights were still very much overlooked.  Battle of the Sexes doesn’t address the issue of gay rights as much as it does show Billie Jean King’s very personal journey of her discovery of her sexual orientation and the very personal reasons she had for remaining in the closet as long as she did.  While the mores of the time must have certainly had some influence on Billie Jean, Battle of the Sexes is somewhat remarkable in the way it shows a life where shame is not the primary motivator in hiding your sexuality, but rather respect, love, and professionalism, all positive reasons making for a story causes you to admire Billie Jean King even more rather than pity her or feel shame for our culture.

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The forces surrounding Bobby Riggs also shed light on a hot topic – depression and gambling addiction.  It would be easy given the feminist themes in the forefront of the film to make Bobby Riggs into a villain, but writer Simon Beaufoy dodges that temptation by showing Bobby Riggs to be a person haunted by his past and who will do anything to recapture his former glory and the way it made him feel.  It shows Riggs as a man who has nothing against women nor feminism, but who saw in what was going on in women’s tennis an opportunity to take center stage again and to fuel his love for high stakes competition.  While this makes him a comic character most of the time, the glimpses into his family life show us the greater truth behind a warm, friendly, loving man being chased by demons of his own making.

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With the deluge of biopics being released right now, Battle of the Sexes sets itself apart largely by being the one that tries to most evenly split the difference where spectacle and realism are concerned, and for the most part it manages that.  The big name stars and the comedy and showmanship inherent in the story make for entertaining spectacle, while the screenplay gives us a depth to the characters and themes which could easily have been lacking.  This leaves us with a film that doesn’t have the sheer entertainment value which American Made gave us nor the remarkably insightful character studies of Strongerrather than looking the worse for not leaning one direction or the other, we end up with a film that will never be seen as great, but will have wide appeal.

Final verdict:  Battle of the Sexes gives us larger than life personalities, character studies and themes with true depth, the spectacle of sports, romance, empowerment – in short, it’s a film that very nearly has it all.  While having it all means that it doesn’t truly achieve greatness in any one way, it still gives us a film that should satisfy nearly everyone excepting perhaps the most obsessive action adventure devotee.  Battle of the Sexes is one of the easiest movies in a while for me to recommend, but don’t take that to mean that I think it’s exceptional, just that it’s a very well done film which should please nearly everyone.

Elle (Verhoeven; 2016)

The first thing we see in Elle is the face of a charcoal colored cat staring straight ahead as we hear sexual noises coming from off screen.  The noises stop and we cut to two people lying on the hardwood floor of a kitchen, the man is wearing all black, including a ski mask, he stands zipping up his pants and runs off as the woman remains lying on the floor in an obvious state of shock.  It occurs to us immediately that what had just happened was a rape, but we don’t witness the rape, we start the story immediately afterward.  This is a brilliant opening as we aren’t focused on the act itself, but rather we get to exist in the aftermath alongside our protagonist Michéle LeBlanc (Isabelle Huppert).

Isabelle Huppert gives a performance here that can only be described as sublime.  Elle deals with a very sensitive topic in a fashion more nuanced than most people think is possible and the handling of that topic hinges entirely on Huppert’s performance.  Not only does she prove to be up to the task, she gives us a character that can somehow horrify and inspire us at the same time, someone who we have all the sympathy in the world for even as we find her repellent to a nearly equal degree.  It’s rare that the Academy of Motion Picture Arts and Sciences honors an actor in a non-American film, but there is a lot of buzz surrounding Isabelle Huppert for this year’s ceremony, and well there should be. This is not just a fully formed, well thought out character with a massive amount of depth, but it’s also a performance and a character that has to express mixed and uncomfortable feelings about a nearly untouchable hot topic issue, and she does this as well with grace, maturity, and style without even a hint of apology.1200

Why should there be an apology?  Well, there shouldn’t, but this film deals with its oh=so touchy themes in a manner that nearly everyone could be offended on some level.  It portrays a 50 year-old woman as a still very sexual person, so sexual that her rape is more about her safety at home than about her feeling violated.  She is shown to be a powerful woman, she runs a video game company and the game they are currently working on is one which shows images and scenes which would work feminists angry at the video game industry into an absolute tizzy, and she sleeps with whomever she wants whenever she wants and thinks nothing of it until her dalliance may ruin a friendship or working relationship somewhere down the road.  In short, she is a woman who acts just like rich men are perceived and portrayed in the media and in culture today.  So the rape doesn’t affect her and isn’t treated in the story in a stereotypical way.  Michéle does feel violated, yes, and she does want to find her attacker, but she is never a victim, and not just due to keeping up a tough outer exterior, she honestly never feels like one.  The thought that must have been put into the character of Michéle really shows as we see her as the most rich, powerful, sexual, and confident person in a world populated almost entirely by men, and that not only gives us many different motives to consider, but also allows for a plot that can flow naturally without the writer and director having to search for coincidences and contrivances to move events along.

The early plot of Elle involves the investigation into who performed the rape, bringing to the forefront many of the possible motivations in the mind of a rapist.  We suspect an ex-husband who feels slighted, an employee who is angry at her for the way she is running the company, a spurned admirer, and the list continues.   More important than the mind of the potential rapists, however, is the mind of Michéle herself.  In exploring the aftermath of a vicious crime there isn’t just one possible response despite what Hollywood often makes us think.  Michéle does not go to the police, she does not change her personal nor professional life much at all except to try and reason out who her attacker could be, she is very casual in her mentioning of the crime to her friends and family.  This is not a Lifetime channel style response to a rape, and this is where a great deal of the shock and heart of Elle lives, in the fact that this movie does not rely on stereotype and expectations but on using the flaws, strengths, quirks, perversions, and humanity of its characters to give us a far more real story than we are used to seeing, particularly when a plot involving a touchy subject is on display.

Past this point, I am going to mention specific plot points of Elle that could lead to your figuring out the central mystery of the movie before it is revealed.  I will not spoil the movie, but I will be giving major clues, so read more at your own risk.

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If it’s the incredibly complex and true characters and their responses that make the plot of Elle what it is, though, the true themes of the film rear their head going into the final third of the film.   Roughly two thirds of the way through the film the identity of the rapist is discovered, and we find that it is a man Michéle has been attracted to all along, and rather than changing her relationship with this man, it just changes her method of seduction, as she now uses the knowledge of the nature of their relationship she has to move the dynamic from coy and playful to something more perverse, dangerous, and reliant on power dynamics.  Michéle is such a powerful woman so in touch with her own sexual nature that all the rape ultimately does is change the way she flirts with her rapist.  It is from here on that we see that the film really isn’t about rape at all, nor really even about sex, but about power.  Michéle is such a powerful person that even something as devastating as a rape can’t take her confidence away from her, it just becomes another tool she uses to get what she wants.

That is the final piece of the puzzle in Elle and what it wants to say.  Once we see that it’s ultimately about power we understand why we have a protagonist who is so unsympathetic in a film that seems like it demands sympathy to work.  Michéle is a seriously flawed person.  She betrays those closest to her, she sabotages others’ lives to get her way or often just because she can, she gives no thought to the feelings and desires of those around her, Michéle is very much a textbook sociopath.  Yet, she is also the victim of the most heinous crime which leaves its victim alive afterward and this naturally makes us sympathetic to her.   If this were any other film which began in any other way Michéle would almost certainly be the villain, but Elle is a film brave enough to go into places so dark in such a well thought out way that we get to experience the life of a sociopath through the eyes of a sociopath, and who ever sees themselves as the villain of their own story?

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Final recommendation:  Elle is one of the bravest, no-nonsense films I have ever seen.  I really do not think this film could have been made in Hollywood for a great many reasons.  It has an older female protagonist very much in touch with her sexuality, power, and desires.  It’s a film that shows there is a more fine line between misogyny and feminism than one would ever expect, and I still can’t say with any authority which side of that line this film falls on.  It’s a film that brazenly displays the relationship between sex and power unapologetically.  This is a dark, dark film that is often very funny, often uncomfortable, and always challenging.  If you are not up for a challenge, if you just feel the need for entertainment, then this is not one to watch, but if you want to see something that will make you rethink sexual politics and power, something truly provacative, Elle is an absolute must see.