The Sleeping Beauty – Australia

Synopsis

The Sleeping Beauty – Australia

A whiff of dreadfulness scents each scene of this film, a particular eau de perv. It’s an exceptionally strange dramatization about suggestive ceremony and male fixation: ludicrous here and there, and innocent about purchased sex, yet all the same truly watchable and creepy.

This is an Australian picture, composed and coordinated by the author and first-time producer Julia Leigh (coached by Jane Campion), yet it has an unmistakably European sheen, a vibe for rectilinear sytheses, profound concentration and retreating viewpoint lines in splendidly lit insides – and all with a feeling of looming frightfulness or loathing.

Leigh is remotely affected by Luis Buñuel, however more by peers like Ulrich Seidl and Michael Haneke. Whenever the characters talk, it is a major astonishment to hear Australian-complemented English, and not Austrian-highlighted German.

Then, at that point, Lucy becomes wildly successful: bringing in genuine cash from a semi necrophiliac religion for rich individuals, managed by Clara (Rachael Blake), an exquisite madame. She should simply lie sedated and stripped on a bed in a chateau, while a rich old client disports himself with her beautiful body anyway he wishes – however he is prohibited to infiltrate.

In the first part of the day, she will not remember anything. In the end, Lucy becomes fixated on finding out how is being treated her and progressively struggled by a delicate, confidential companionship which in its curved way is the closest she gets to an ordinary life. Is this sex work an approach to searing mystery dread and culpability?
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