Atrociously unsavvy in its revisionist (white?) feminist 101 politics. Never trusts its audience to understand either’s circumstance, nor is able to elaborate on the political consequences. A total slog to watch. It has no idea how to articulate the confined nature of the system within which both women exist without beating the audience over the head with it, or with hammering in a nebulous, rarely “shown” notion of these women’s power. Nor do we understand how it affects their peoples.
(Inter)Textuality! Adaptation! Self-reflexivity! I didn’t hate it! The last battle is dazzling, and mostly does good on its established stakes. But it’s much less *different* than i was led to believe, which is fine. It’s much less about departing from comic book movie tropes than i was expecting (my fault?), and instead dives head first into them. A deconstructed origin story trying to deconstruct origin stories and unearth shared tropes, feelings, memories.
The best joke is also what is narratively…
- I will preface this by saying that I consider myself a sex positive male feminist, or feminist ally, which means that I believe any sexual conduct between consenting adults is fine. This includes sex work, such as prostitution or pornography. So, I was naturally interested to see how Hot Girls Wanted was going to portray sex and sex work.
- The first three or four minutes of Hot Girls Wanted is a collage, or a montage technically, of clips…
If I had a nickel for every time someone asked me where my "real" parents were or if I intended to go back "home," I could gentrify the Chinese province I was born in. It's a benevolent and well-meaning question, with "home" said in that pointed way that Westerners do when they’re talking to someone foreign, at heart, but it's also blithely uninterested in the complexities and nuances of adoption, particularly of transracial adoptions, where the child of adoption belongs…