THE HIDDEN MOVIE STRIPTEASE MOVIE
The most beautiful and interesting thing about the movie is its central set–a dreamlike upstairs nightclub called Exotica where women dance for and talk to male clients at individual tables without allowing themselves to touch or be touched. Within such a context, where the private and the public intersect as often as the personal and the professional, money is merely the glue, yet it always seems to tarnish the authenticity of the relationships of those involved.
The personal and professional links forged between individuals–and there are very few relationships in this movie that aren’t both personal and professional–all seem predicated on forms of barter, as well as the assumption that everyone is, or eventually becomes, either a substitute for a missing family member or a virtual double for someone else. It does involve voyeurism, corruption, and a form of prostitution all these things are conventionally associated with capitalism, but they’ve been around much longer.Įxotica has plenty to say about the modern world, including the psychological, social, and racial (even colonial) ramifications of “exotic” sexual tastes, but class difference isn’t a significant part of its agenda either. This film is every bit as allegorical as his Speaking Parts, The Adjuster, and Calendar–and every bit as concerned with a need for family surrogates as Next of Kin and Family Viewing–but it is only incidentally a movie about capitalism and its ability to pervert personal relationships. The saddest parts of Exotica–Atom Egoyan’s lush and affecting sixth feature, a movie inflected like its predecessors by obsessive sexual rituals and desperate familial longings–are moments when money awkwardly changes hands.
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