germany – Remedy

Review in Perlentaucher.de (with English Translation)

Click here to read the review in the original German.

“Remedy” by Cheyenne Picardo is a film about sex work that succeeds without dark secrets

These days, when looming shadows in 50 shades of gray are poised to introduce sadomasochism not just to housewife-literature but also to blockbuster cinema, at the periphery of all the hype a substantially more raw and less polished film is about to arrive in German theaters. First-time U.S. director Cheyenne Picardo is familiar with the material she describes, since she presents her own story with that of Remedy. Like her protagonist, who calls herself “Mistress Remedy”, Picardo spent 18 months—while studying at film school—as a sex worker at an S&M brothel; and in spite of all cliches that tend to stubbornly accompany cinematic treatments of prostitution, no dark secret lurking in the shadows is at the root of this. When Remedy is asked what prompted the idea she answers simply, someone told her she’d never dare do it.

A slight and trivial reason to temporarily become a prostitute; but that exactly is the point; and these days in which the PorNo! campaign is eagerly exhumed while the human rights of sex workers are trampled with enthusiastic self-righteousnessness, it’s an important point. Sex work as a service-industry profession, with some highlights and an (in no way glossed-over) shadow side as well, but not a tragedy overshadowing one’s entire biography—that’s the story Picardo tells in Remedy with the full weight of lived experience .

This does not mean that Remedy is some kind of formally illiterate piece of confessional cinema. You can tell that Picardo’s debut originates from a precarious place with its budget partially scraped together using crowd-funding—in fact, Remedy is nearly a one-woman production: Picardo directed, produced, wrote the script, edited the film and even sang the song used for the opening credits. Her lofty filmmaking ambitions constantly find their way into the film’s structure and formal aspects, however. Remedy is structured as a series of S&M sessions that reflect the full spectrum of her everyday work experience: From outlandish, funny episodes of the sort that recently brought attention to Lene BErg’s great sex-work documentary “Kopfkino”, to encounters offering true personal affection and romantic potential, to sexual power games that gradually and apparently inevitably teeter toward actual danger.

The decision not to present these sessions as incidental to a concurrent story of psychological development , but as a crucial narrative tool, has far-reaching ramifications for the tension sustained by the movie. This is not just a film that wants to talk about sex and foregrounds sex for this reason—and even less so a film using its sexual content as a decorative element. Instead Cheyenne Picardo aims to turn various sexual constellations into the actual medium used to drive the narrative. Via the succession of johns and the sessions experienced by Remedy as either the dominant or submissive party, a definite narrative development can be detected. This type of narrativizing of the sex act itself represents the highest aspirations of the sex-film genre, and for long stretches Picardo is extraordinarily successful at pulling off this tight-rope act.

Admittedly, tightening some of its mid-section might have benefited the two-hour movie. But even this is mitigated by Picardo’s direction that seeks out not just atmospheric, but also varied and diverse images, including a penchant for split-screen mosaics. And besides, the waiting, the apparent killing of time, the enduring of uncertainty and repetition, silence and stillness, are integral parts of every successful sadomasochistic performance whose rhythms shape the deeper structure of Remedy. (Jochen Werner)

(Translation by Nina Gielen)

Writeup in Orion, a German erotic blog!

The finished film depicts a dark, dingy world. “Take a Walk on the Wild Side” as Lou Reed would say. – Miss Passion (Orion)

Click here to see the original blogpost by Miss Passion!

(Translation by Nina Gielen.)

Fetish and BDSM Film Tip: Remedy

The dominatrix “Mistress Remedy” is the subject of the fetish-themed film Remedy–a true-life story from the world of fetishes. “Traumkino Kiel” has provided some copy to whet your appetite:

In this New York-set movie the woman in question starts a job at a sex-work-studio under the moniker “Mistress Remedy”. As a dominatrix she has to cater to the varied wishes of her clientele and encounters many diverse strangers — repulsive freaks as well as interesting guys. While practicing her unique profession, every once in a while she worries something dangerous might happen. But sometimes she also gets the notion she could meet up privately with her clients outside the studio. But is a BDSM studio the right place to meet the man of your dreams?

Cheyenne Picardo has lived through everything that happens in the movie Remedy (in the exact same or in a similar fashion). The period of her life she spent working this job was extremely intense, with lasting effects until today, and in Remedy she processes it all. A lot of people helped her finance the film, among other things through crowdfunding (a means of collecting money from interested third parties). The finished film depicts a dark, dingy world. “Take a Walk on the Wild Side” as Lou Reed would say. The film premiered at New York’s Cinekink festival, where Remedy promptly garnered the audience choice award. But Germany is the first country to theatrically release the movie, starting January 22, 2015.

And so Remedy is linked to other independent movies currently adding diversity to the screen, such as Ulrich Seidl’s “Im Keller” and the critical escort-movie Top Girl out of Berlin.

Review in Spielfilm & Kabeleins

…authentic, honest, different, mundane and surprising … an insight into the professional world of BDSM that we have not seen before. – Gregor Torinus (Spielfilm)

Click here to read the review in Spielfilm.de!

(Translation below from Toby Tentakel.)

Review: Remedy (2014)
Rating: 4 / 5

The upcoming film adaptation of the soft BDSM bestseller 50 Shades of Grey is already casting its shadows. Now that suddenly a mass audience is interested in the former taboo subject of “BDSM,” other films with related topics are being released in cinemas. But Remedy is both visually and content-wise pretty much the opposite of 50 Shades of Grey. Instead of a smooth and overblown erotic atmosphere with some spicy touch of S&M, Cheyenne Picardo’s debut Remedy is much closer to the style of “cinema verité,” as recently seen in National Gallery. An authentic look that is further enhanced by the visibly low budget. The film was predominantly shot with a cheap camera in the basement [director’s note: it was actually in a barn] of the parents of the filmmaker, with the plot consisting mainly of a loose series of sessions.

According to Cheyenne Picardo, the film is based on her own personal experiences. She is active herself in the BDSM scene of New York, having worked in a BDSM studio there. As the writer and director of Remedy, she thinks that even though there are depiction of BDSM scenes all over the media, these only represent one side of this topic. What is missing are films about the various people who – like Remedy – stumble into the scene for mundane reasons. She is for example missing representations of students that start working in the summer holidays to earn quick money, and other women who do not come from “the scene”. How do such people experience working in a BDSM studio, where they give up control for an hour just for money? How can a slave separate her own personal feelings from her profession? These are exciting questions that “Remedy” pursues in a sensitive manner.

The leading role of Remedy is convincingly played by Kira Davies, who is not part of the BDSM scene herself. She manages to plausibly portray Remedy as a clever and at the same time naive young woman who stumbled into a BDSM studio, where she is trained by her jaded colleagues. Like in other jobs, there is swearing and blasphemy during breaks, and sometimes an amusing anecdote about particularly unusual clients. The clients and therefore all the sessions are really varied and different: some clients are nice and courteous, other are arrogant and dismissive and some are slightly crazy. But all these scenes are about the different human encounters.

People who like to see dark erotica or even sex won’t be satisfied with Remedy. Instead, Picardo offers a glimpse into a world that is excitingly different, but at the same time similarily banal like other working environments.

Conclusion: Remedy is authentic, honest, different, mundane and surprising and provides an insight into the professional world of BDSM that we have not seen before.

– Gregor Torinus

Click here to read the writeup in Kabeleins.de! (Translation coming.)

REVIEW in Indiekino

REMEDY tells of an excess of intensity in the BDSM sessions, something that can not be simply shut off in daily life. – Indiekino

Here is a link to the review in the original German, where REMEDY gets contrasted with a German sex work film, TOP GIRL!

TOP GIRL & REMEDY
Sex and Economics

With Ulrich Seidl’s “IM KELLER,” Cheyenne Picardo’s “REMEDY” and Tatjana Turanskyj’s “TOP GIRL OR LA DÉFORMATION PROFESSIONELLE” there are currenty three films released in cinemas that deal with private and commercial sexual fantasies in very different ways. Seidl’s film shows BDSM people, two private and a professional couple, like exhibited objects in fairground booths, only to be seen by people with high school graduation – a kind of visual slumification in cinematic Louboutins. At least Seidl lets his protagonists talk. And especially the speech of a masochistic woman, naked and bound, about her precise differentiation between erotic submission and consensual pain opposed to violence and abuse, shows the high amount of self-reflexion that her sexual preference requires.

REMEDY and TOP GIRL on the other hand are about the commercial side of BDSM, but approach this subject with totally different perspectives. Cheyenne Picardo, director of REMEDY, worked in New York as a switch in a BDSM club, so she knows both the dominant and the submissive side. REMEDY is an autobiographic film about her experiences. Tatjana Turanskyj’s TOP GIRL, however, is more reminiscent of René Pollesch’s theater of discoure that was popular in the nineties. It is the second part of a planned trilogy about women and work. Even though it contains a plot about Helena, an unemployed actress (Julia Hummer) who works as an escort and fulfills the sexual desires of her clients, mostly the film is about materials, phrases and theses in an accented artificiality, often in parodic inversion. A lecture about cosmetic surgery is so much flavored with post-feministic rhetoric that only a feminist critique on self-optimisation remains. Relationships between people arise only on a material basis, it is all about money and work, with the money only being passed on concealed in envelopes. The men’s sexual fantasies are almost always about gender switching, like Judith Butler proposed it as a feminist strategy some years ago. In Turanskyj’s film, male submission fantasies are becoming fantasies again, in which men occupy a female position and move to a place from which they can fantasize about the subjugation of femininity, even if the formally assume the submissive position.

The girl is always below, down to the symbolic or real extinction. Whether TOP GIRL actually knows the world the film is about is ultimately irrelevant for the artistic concept. Economics is the cause for the disappearance of the female identity, and sex work is an intensified form of that, as it kills the body more quickly. The roles in this film describe positions, not characters. Helena and her mother represent two generations of false consciousness. The eldery because she follows an ideal of self-realization that turns out to be a market-compliant self-confinement, the younger one because she fails to recognize the relentless commodification and objectification of her body. She thinks of herself as a player in this game, but is only a screen for projection and agent of self-extinction. There are no personal, only business relationships between these two figures. It is a thesis film about which one can and should talk, but which does not have any aesthetically representative function and whose relationship to a pre-cinematic, pre-conceptual reality exists only theoretically and metaphorically.

Cheyenne Picardo’s film REMEDY is the opposite of TOP GIRL: a cinematic autobiography that is particularly interested in the relationship between the sex worker Remedy and her clients and the feelings associated with that. It is not because of financial distress that Remedy begins to work as a dominatrix and later as a submissive, but only out of personal interest in the BDSM scene of New York, particularly as someone challenges her: “You could never do that!” There is no sex in the club that Remedy works in – prostitution is illegal in New York, but BDSM clubs are allowed. The problem there is not the lack of intensity in the encounters, but an excess of it. Remedy is not hurt or deformed, but her experience move her so much that she decides to quit the job. Cheyenne Picardo shows some absurd events, like Remedy’s first session as a dominatrix, where she is supposed to give a mean guy a dental treatment, but instead gets him to fall asleep by giving him a foot massage. But more important are other encounters, for example when she meets a friendly flagellant and switches roles with him, resulting in a joyful competition about who can take the most blows.

Remedy likes the phyiscal aspects of her job, but not the psychic ones. She does not offer [sessions where she receives] “extreme humiliation” and she never strips naked, but when a man lets her dance being bound in front of him, this scenes stays with her for a long time. If Remedy is humiliated or aroused in that critical moment, the film does not tell, but it is not important anyway. REMEDY tells of an excess of intensity in the BDSM sessions, something that can not be simply shut off in daily life. Remedy and her clients come very close, but this closeness turns out to be an illusion.

Picardo made the film in a very direct and improvised style, citing the films of Mike Leigh as a role model, as well as the film WORKING GIRLS (1986) by avant-gardist Lizzie Borden (not to be confused with Melanie Griffith’s film WORKING GIRL from 1988). She puts the shabbiness of the BDSM studio, where there is always a mop in the corner and some piece of bondage equipment on the edge of tipping over, in contrast to the excitingly staged interactions betweens the people. Picardo said about REMEDY: “The film should do justice to the people in the scene, professional or not. I had to show the good and the bad things, without condemning sex work or the concept of kinky sex.”

And she succeeded with this very personal film.

Nachtschatten BDSM/Fetish Film Festival

This nine day festival from 20-28 June 2014 “showcases international short and feature films that are speicifically related to BDSM and fetish topics.” REMEDY had four screenings – three of which were sold out – at the festival. Below are a few of the audience comments.

I can’t remember the last time a film had such an impact on me! A real personal and moving story, which I did not expect from the trailer (which gave the impression of a rather bland “documentary”).

(Director’s Note: I do need to do a post about why that trailer is (a) so long and (b) was the only trailer released until November 2014. I rather enjoy the criticism, however, that it made the movie seem like a bland documentary. It’s sort of the best compliment someone making a work of realistic fiction can get.)

For me, it was definitely not about “failure” in the end, but standing up for your own rights and feelings! Impressive!

I really enjoyed this independent film, not only concerning its fresh approach to content and storytelling, but also in its technical realization. This was a really “cinematic” experience and I had the feeling that each and every shot and scene was carefully planned by the director. This is truly a work of passion and art!

I would not have stayed there for long, I would have left after a week the latest. How did she find the endurance and strength and why?

(Director’s Note: Perhaps I should put something about this in the Q&A as I’m not totally sure the reasons I stayed are totally aligned with the reasons Remedy stayed. Also there is an epilogue to the real story about what I did after I stopped actively taking sessions which is not included in the film.)

You could feel her pain, and you could feel her joy. Especially the two scenes where she is treated as a sub in both, but can hardly endure the first session (dance) but really enjoys the other one. That really showed me how big the gap can be and how dangerous as well as fulfilling such job can be.

(Director’s Note: My brother thinks it’s too long too. The way I see it, this could be my only chance to make a film with total creative editorial control. I’ll let the next one be 100 minutes, promise.)

I though there were some scenes that were dragging a bit, especially towards the end, but overall a good film with really solid production values!

The most interesting part for me was how the story was told. You could tell that much thought went into the screenplay, and I particularly liked how the film did not rely on conventional storytelling approaches for either documentaries/interviews or the standard drama cruve we find in each and every blockbuster these days, but rather used these episodic sessions to gradually give us more insights.