The film, which premiered at the Tribeca Film Festival on Tuesday, will be released on May 22 in New York and Los Angeles and on demand on the TV network HDNet. It follows an escort named Chelsea who charges $2,000 an hour to act as a client's girlfriend for the night, providing more intimacy than just sex. (In the film's opening scene, Chelsea and her client are shown at a chic Manhattan restaurant discussing the film they just saw - Man on Wire - going back to his apartment and making out, and then having breakfast and reading The New York Times together the next morning.) The story takes place over five days in October 2008, and is partially improvised by the mostly unprofessional actors, who play versions of themselves, like New York magazine staff writer Mark Jacobson, who plays a journalist, and movie critic Glenn Kenny, who plays an escort reviewer. (Some readers may recall that Kenny served as writer David Foster Wallace's editor and sidekick when the duo attended the AVN Awards for a piece for Premiere magazine.) But the casting choice that has garnered the film so much attention is that the main character is played by real-life porn star Sasha Grey.

At the Tribeca Film Festival, Soderburgh explained that he chose Grey precisely because of her porn persona, The Guardian reports. "With Sasha, you can within seconds see her do anything you can imagine with her clothes off," he said. "What you can't see is what it's like to be her boyfriend, to hang out with her and be emotionally intimate with her. So my whole theory is that's the fantasy for those who've been double-clicking – that they want to spend 77 minutes being her boyfriend."

As Soderbergh put it, Sasha Grey is "not the normal adult film star." Grey is 21, but has appeared in 150 adult films and branded herself as a "new" kind of pornstar since beginning her career at the age of 18. According to the Associated Press, Grey is known for "pushing the boundaries of normal sexual acts," but, "she maintains she's always in control." Vanessa Grigoriadis, who profiled Sasha Grey for the new issue of Rolling Stone explains:

Sasha Grey is the adult industry's reigning princess of porn, a rock & roll 21-year-old with an actual mission statement - "Most of the XXX I see is boring, and does not arouse me physically or visually. I am determined and ready to be a commodity that fulfills everyone's fantasies" - and few taboos.

Grey, who is co-managed by former Jane's Addiction guitarist Dave Navarro (and appeared in the porn film he directed), has modeled for American Apparel, and sung with the reggae musician Lee "Scratch" Perry. She says she is striving to make porn more artistic; Grigoriadis asserts she is changing the relationship between feminism and porn:

"Porn has been one of feminism's most divisive issues because it hits on such a raw level to so many woman. Here are the fantasies of men, and it's of course better to live out those fantasies through pornography than to try to do them in the real world, but the fact is the real world is impacted by it. Grey says, ‘If you look at me and you think "Here's a woman who's intelligent, cognizant and making her own choices, and you still tell me that what I'm doing is wrong, screw you, because that should end the debate.' "

Grey's appearance in The Girlfriend Experience has been interpreted as the first step in her attempt to go mainstream like former adult actresses Traci Lords and Jenna Jameson, but according to our sister site, Fleshbot, (link NSFW):

If anything, we suspect that Sasha is attempting to remake the notion of what a mainstream star is, and does-much the way she's remade any notions of what an 18-year-old pornstar looks and sounds like .... it's also possible that Sasha could rise to fame in the mainstream cinema while continuing to work as an adult star-perhaps completely remaking our notions of what it means to have crossover appeal.

Though Grey doesn'tactually have sex on screen in The Girlfriend Experience, Soderbergh says that he felt comfortable casting her because "Porn is beyond everywhere now." He told Time Out New York that he thinks prostitution should be legal and does not consider the prostitute in his film a victim. When asked what he would say to someone who has been roped into a life of prostitution, he replied:

Well, there are people for whom that is true. That's not the case with Chelsea any more than it is with Sasha in the adult-film industry. But, yeah, I think whatever agreement two people want to come to about whatever is really none of my business. I don't know what the difference is between that and what I'm doing for Sony Pictures right now [directing Moneyball].

According to the Village Voice review:

Like Godard, Soderbergh views prostitution as the ultimate paradigm for capitalism. But where Godard saw the hooker as a tragic or exploited victim, Soderbergh suggests there are no victims, only failed traders, in the post-Reagan era of DIY capitalism.

And, says Variety's review, the film de-emphasizes the sex involved in Chelsea's work and portrays her as a woman in control of her own get-rich-quick scheme, much like her clients who strive to make a fortune in the world of finance.

From reviews and interviews, it appears Soderbergh was striving for some sort of meta commentary on how capitalism makes prostitutes and porn stars of us all. The johns in the movie delude themselves into thinking they're experiencing a higher level of intimacy with "the girlfriend experience" than they would by just having sex with a prostitute. Similarly, Soderbergh suggests that audience members, who have presumably seen Grey's porn films, will delude themselves into thinking they are experiencing her on a more intimate level by watching her act in a mainstream film rather than a porn film. But by focusing on a high priced escort who chose to get into prostitution, and having her portrayed by an actress described as an atypical pornstar who feels in control of her career, he conveniently ignores the fact that many women in both industries are exploited. Soderbergh is certainly allowed to use the old fantasy of a sex worker who simply loves her work. However, by ignoring the uglier side of the sex trade, he undermines his argument that his film reflects any underlying truths about sex, pornography, or society.

Trailer for The Girlfriend Experience:



Steven Soderbergh On The Girlfriend Experience: 'I Hired Real People And Turned Them Loose' [The Guardian]
Porn Star Sasha Grey Stars In New Soderbergh Film [The Associated Press]
Sasha Grey, The Dirtiest Girl In The World: The Story Behind The Story [Rolling Stone]
Sasha Grey, Crossover Star (NSFW) [Fleshbot]
Steven Soderbergh Interview [Time Out New York]
Soderbergh's Girlfriend Experience Porn-Star Is A True Character [The Village Voice]
The Girlfriend Experience Review [Variety]

Earlier: Dave Navarro Makes Porno Debut
American Apparel Now Sponsoring Bloggers & Porn Stars (NSFW)
Oprah Learns About The Ins-N-Outs Of Legal Prostitution

You wouldn't know it from watching the commercials playing constantly on TV, but in Observe & Report Ronnie (Seth Rogen) date rapes Brandi (Anna Faris) after taking her out to dinner, and today, bloggers are talking about it. This is how The New York Times review describes the scene, which you can watch in the final 20 seconds of the trailer above:

In another scene [Rogen] forces himself on a makeup-counter saleswoman after a date of heavy drinking and drug use. (Before the scene is over she indicates that she had given her consent.)

In the scene, Brandi has thrown up on herself and appears to be totally unconscious as Ronnie is pumping away on top of her. He stops for a second, and then she murmurs the line that The New York Times says indicates her consent, "Did I tell you to stop, motherfucker?" before passing out again.

Dan Kois writes on New York Magazine's Vulture blog:

The movie doesn't mitigate that sex scene at all. In fact, it makes it even more clear than the trailer does that when Brandi and Ronnie get home from dinner, she's unbelievably trashed on antidepressants and tequila. Not only does she throw up all over the place, she can barely walk - and she certainly can't give any kind of informed consent. She's way too wasted for her yelling at Ronnie to mean anything.

But Kois doesn't get is that it's a dark comedy. People are so disturbed by rape that the fact that Brandi is too out of it to give any kind of consent what makes the scene so hilarious. Anna Faris told New York Magazine, "It's like date rape - that's funny, right?" Seth Rogen agrees in this interview posted by the Washington City Paper. He says:

SETH ROGEN: When we're having sex and she's unconscious like you can literally feel the audience thinking, like, how the fuck are they going to make this okay? Like, what can possibly be said or done that I'm not going to walk out of the movie theater in the next thirty seconds? . . . And then she says, like, the one thing that makes it all okay:
BRANDI: "Why are you stopping, motherfucker?"

Rogen explains that everyone in the theater then lets out a good long chuckle. See, even though she's probably blacked out and has no idea what she's saying, it isn't rape. (And Brandi's kind of a dumb slut anyway.) In the beginning of the trailer, a flasher is exposing himself to women in the mall parking lot and it looks like he's masturbating in front of Brandi. In this interview Anna Faris says:

It is the most traumatic event that's ever happened to her, which is funny because I always imagined that she's seen a bit of male anatomy and it wouldn't normally scare her.

Women who have many sex partners obviously love penis, so they'd welcome a stranger jerking off in front of them on their way to work.

And if you aren't already laughing at the idea of a pervert exposing himself to women and someone getting date raped, Sady points out on her blog Tiger Beatdown (via Shakesville) that the film will be even more entertaining for women with history of sexual assault. Sady writes:

"The incredible frequency of rape and sexual assault in our society means that many, many victims of rape will see [the movie], and the PTSD that often accompanies rape will mean that, for a joke, for some dipshit filmmaker's attempt at being edgy, they are going to experience all of the pain and psychological trauma associated with that experience, they are going to feel that rape all over again, there, in their seats, in the theater, and they are going to pay for the experience, and if they try to talk about what that filmmaker did to them it's probably going to get sidetracked into some conversation about the Sanctity of Art which is invariably given more consideration than their actual lives."

An Auteur of Awkward Strikes Again [The New York Times]
Does Seth Rogen Rape Anna Faris in Observe & Report? [New York Magazine]
Observe and Report's Date Rape Apologism [Washington City Paper]
Um. [Tiger Beatdown]
Quote of the Day [Shakesville]

The cinematic events which apparently heralded this sea change were Sex and the City: the Movie, Twilight, and Mamma Mia. In other words, women had promiscuous sex, had sex in the city, and didn't have sex with vampires, and amidst financial turmoil and political change, we ate it up.

However, all this is positively Bergman-esque compared to 2009's distaff-themed offerings. Says the FT,

This year women will be targeted even more precisely. One sub-sub-genre to emerge is feature films adapted from self-help books, notably French Women Don't Get Fat, which instructs women they can stay slim while still scoffing the air in the éclair choux pastry, and He's Just Not that Into You , which proffers advice such as that if a man runs away from a woman he is not in love with her.

The article quotes one feminist's dismayed response to this trend: "Self-help books send out the message women need to improve themselves instead of being happy with who they are." Well, that seems a tad unfair. For one thing, as self-help books go, these two are fairly common-sensical: both were remarkably short of psychco-babble and long on clearing up misconceptions, albeit obvious ones. There's a reason these books were such runaway bestsellers that they caught Hollywood's roving eye, and it's more than just numbers. Self-help offends people by its lack of artifice, its vulgarity, but chick lit and women's fiction hews to a similar formula of control-wresting and triumph. After all, a film like Sex and the City or Mamma Mia is no more virtuous for wrapping its self-help cliche's in shoes and ABBA; the self-help films will simply make no bones about it. The irony is, the end result will probably not be too different from what Hollywood's already turning out.

However, it will be interesting to note whether the stigmas of self-help carry over to its cinemazation. After all, a woman who can justify seeing Sex and the City for a laugh or Twilight in the name of cultural anthropology - no small class of women, I'd wager - might have a harder time pulling the trigger for French Women Don't Get Fat in widescreen. We like to be silly, not to feel stupid. Whether or not one finds the self-help film trend dismaying in itself, one can't deny that the "woman/smart " divide is being made nakedly stark. In removing all the artifice from what have essentially been self-help movies all along, Hollywood's ironically respecting our intelligence. And I wonder if that might not, also ironically, result in a backlash of denial - not the kind of escapism anyone wants.

Year of Women [FT]

4. Tucker's Friend Is Down With Mexicans, Mane:

5. Tucker "Max" On A Midget Girl, Ha:

6. Tucker Max Really Has To Poop Immediately:

First, Josh Hartnett is an extremely nice guy. Extremely. He really wants to be known for his acting and not for being a hot dude. And he is a very loyal friend. And seriously, he would be the first one to jump in front of a bus to push someone out of the way.

That said, quite a few of his friends are assholes who are really nice to him (and to anyone who can get them things), but they are totally out to get their own share of his fame, etc. Not all of them are assholes, mind you. He has some good friends who do care about him, etc. Their names do not appear in the credits of that video.

Now, because Josh is such a nice guy and a loyal friend, he doesn't always see the asshole user aspect of his friends. He helps them make little films to start their directing and producing careers, because, again, nice guy...

I would just like people to know this is video is many things, but "art" isn't one of them. It's rich people getting richer through their connections, and their ability to trick nice people (who happen to be celebrities) into thinking that they are their friends. These people are not smart, just manipulative. But I have to admit, this whole gradually revealing the film on the NYT website is a brilliant way to show it...

The same people did make a short with Scarlett Johannsen and Josh Hartnett, but I guess that never saw the light of day. There is a terrible clip of it on youtube. Search for "Ham Lake".

And here it is!