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Adam: Why are you hopping? Andrea: Why are you walking? This bit of dialogue essentially contains everything that we learn about Andrea Absolonová’s motivations over the course of (not quite) two hours. Her Body is thus an apt title. The film makes no effort to psychologise her (and it is more consistent in this respect than the recent Brothers). We see from up close what her body has been through in various phases of her life, but we do not get a look inside her head. The scene involving an interview with a journalist indicates that she just didn’t have much to say. In the context of biographical dramas that have the need to explain why someone did this and that, it is an original approach. But to what end? The inability to go in depth isn’t offset by the originality or intensity of the stylistic techniques. It is neither carnal nor hard enough for a body horror movie. The only unpleasant scene is the one in which Andrea is on her hands and knees after being injured and stretches her bruised body. Otherwise, the film is remarkably easy to watch. Even when the protagonist is lying in the hospital with a neck brace or with a brain tumour, she looks great (several times I recalled what Ebert said about “Ali MacGraw’s Disease”: a movie illness in which the only symptom is that the patient grows more beautiful until finally dying). In fact, the family scenes with her father and mother are painful, though only because of their theatrical stiffness and unbelievability, when I had the feeling that I was watching several strangers (who conspicuously do not age with the passage of time) pretending to be blood relatives. We learn very little about the workings of the porn industry at the turn of the millennium. The story is cut down to basic events. There is no context (the motif of working with one’s body as a tool could have been made more multi-dimensional by emphasising the obsession with performance and success that became normalised in the 1990s). Andrea simply just has sex with various porn actors. She doesn’t deal with anything else around her. She doesn’t have to. Everyone is extremely kind and understanding. It’s nice that the film doesn’t take a moralistic stance toward porn (unlike, for example, the Swedish film Pleasure, which didn’t take a stance toward anything due to its cautious approach to the lives of actual people). It’s simply another physical activity at which the ambitious protagonist wants to be the best…which is simplistically emphasised by Adam’s line “you’re not in a competition here” (and there are plenty of similarly superfluous, leading statements). But what else? The problem with the film is not that it doesn’t go to any great lengths to explain what we see, but that it simply has nothing to explain. It’s hollow, it’s neither entertaining nor moving, and it doesn’t create dramatic tension. It does not have a clear theme or point of view (a problem of dramaturgy). It merely reconstructs a few loosely connected episodes from Absolonová’s life without offering anything that would be surprising. She was an excellent diver, then she got injured, then she became a famous porn actress without making any visible effort and then died young. She had a close relationship only with her younger sister, but in a film teetering between docudrama and family melodrama, this motif is just as feeble and poorly developed as all of the others (e.g. the eating disorder). There is no added drama or emotion, no deeper reflection on anything. Just her (still attractive) body. 50% (07.11.2023) (vähemmän) (lisää)