IFFR 2020 - Filles de joie (Working Girls)
INTERNATIONAL FILM FESTIVAL ROTTERDAMAnne Paulicevich and Frédérick Fonteyne's Working Girls exists in the brand of social dramas that specialises in making its audience as uncomfortable as possible; the goal is to stir the viewers’ guilt and empathy. These points of discomfort are usually stretched to their very extreme, and hence, sometimes become the reason for checking out of the film itself midway to escape the psychological strain. Working Girls though is very different.
The usual, extreme dose of physical and sexual violence combined with discomfort and raw nudity still carries over to the film. It is Paulicevich and Fonteyne's usage of narrative fragments and misdirections that keep even the most disgusted viewers on the edge of their seat. They might see the film as nothing more than a hate-watch, still, leaving is not an option. The explanation for these misdirections is that at the core of its narrative there is a pseudo-mystery. Instead of simply asking "Who did it?", it focuses on whom it happened to, and why it happened to them.
The very first scene of the film clarifies that a tragedy involving the three main characters has taken place; the film now needs to go back in time, and procedurally lead up to the event in order to understand the context and situation.
The excellent use of foreboding tension inevitably leads to engaging the audience from the very beginning, who have to sit through to catch on and comprehend the progression of events. In an ironical sense, the real-life social issues that the film explores become its most captivating element. Throughout the viewing experience, the audience constantly ask themselves, "How bad could they have set out?", resulting in them empathetically examining societal troubles – including drug usage, infidelity, paranoia, domestic violence, and rape – to uncover the underlying reasoning.
This engaging technique is further enhanced by its excellent technical parts that seem consistent and emotive. Whether the scene is dark and disturbing or bright and optimistic, both are given an extra layer of emotional persuasion by the professional level of color grading, and the reserved but meaningful cinematography by Juliette Van Dormael, which increases and decreases momentary tension in a swift flow, so that the plot in front is unfolding naturally.
Technical prowess is balanced out by the actors, who – with the unfortunate exception of Sara Forestier’s many noticeable flaws – express emotions and deliver their line, keeping their character's personality and context in mind. They never go overdramatic with it, managing to fit in the immersive set up and environment.
The film ventures captivatingly into social themes, and this is not to be confused with facetious exploitation. Yes, it does draw the audience to examine its elements and filmmaking techniques. It never loses its sense of reality, though, so that the audience still see these women as humans and victims at the end – not as "puzzle pieces". At the end of the day, it is a social drama and fortunately, it never loses sight of its identity.