ELLES, directed by Polish director Malgorzata Szumowska (whose previous expertise is in documentary film), is a gritty drama set in modern day Paris about the lives of two college students immersed in the unforgiving world of prostitution. ELLES is as much about the lives of those trapped as it is about the sacrifices of Elle writer Anne (Juliette Binoche), and the deterioration of her well-being whilst covering such a controversial issue.

We are taken on two journeys through the fragmented and complex 99-minute run time of the film, initially that of the prostitutes – Charlotte (Anaïs Demoustier) and Alicja (Joanna Kulig). Charlotte, who goes by the name of ‘Lola’ to her clients, portrays a sweet innocent French girl who looks towards prostitution as a way of funding her college career. Charlotte’s innocence is portrayed through the scenery where Anne interviews her for the magazine, in a tranquil park, in an environment that seems harmless in contrast to the nature of Charlotte’s extra-curricular activities. On the other hand, Alicja, a Polish migrant to France, represents the stereotypical expectations of a prostitute. Although she initially turns to the act to afford accommodation, food and water, a quick transformation is seen. Her long blond hair is cropped. Her innocence disappears with lashings of make-up. Her clothes change from high street fashion to dark, somewhat conspicuous dresses and coats.

Binoche’s performance is in some places dry and unconvincing and in some places sincere and exquisite.

The second journey is that of delirious writer Anne, who appears to become consumed in the story of the prostitutes and the article she is assigned. However, has the time spent with Charlotte and Alicja turned her into a clumsy, frustrated, sexually hungry individual, or are these traits a result of a family in disrepair? A husband who is engrossed in work, a teenage son who disregards education for art, music, smoking and socialising and a younger son whose only relationship seems to be with an Xbox. Is the article the catalyst for such a breakdown over a twenty-four hour period? Binoche’s performance is in some places dry and unconvincing and in some places sincere and exquisite. However, it is the performance of supporting actress Kulig that steals the film. Kulig’s execution of her role is sublime – we feel as if she is truly caught up in the world of prostitution and her vicious, devious nature is easily identifiable during the scenes of the interview with Anne.

ELLES is not a glamorous representation of prostitution. Many scenes are highly explicit and raw, perhaps too raw for some. On the other hand, seriousness is expressed through the brazen nature of the sexual scenes. The aim of the film here is not to be discreet, but to highlight an issue of a destructive nature which is in no way fair on the prostitutes, nor on society surrounding it.

…the film is let down by the clear inexperience of Szumowska in making fiction.

Despite a range of modern day clichés and social deprivation issues explored to an effective level, the film is let down by the clear inexperience of Szumowska in making fiction. The film is at crossroads stylistically, swaying towards conventional aspects of fiction film, yet the director’s previous experience with documentaries is apparent though the lack of non-diegetic sounds in the film and much of the plot relying on interview scenes. Criticising ELLES is tough, because a variation in cinematography, clearer transitions and editing could have delivered a divine film. However, justice has not been served to the hard-hitting topics explored.

ELLES has all the components to make a magnificent film, but has fallen at the most basic hurdles in pre-production. A definitive decision on how the film should look clearly hasn’t been made, which is a shame. Despite this I thoroughly enjoyed decoding the film and taking onboard the issues explored. ELLES is worth seeing, but only to those willing to actively take part in the story and bypass the construction of the film.