Pleasure Factory
Jan Ham rated it liked it May 31, Karren rated it really liked it Jul 06, Nat rated it really liked it Aug 16, Stefanie Tang rated it liked it Apr 17, Aug 05, Venna Schouten rated it really liked it. Yohan rated it it was ok Dec 21, Jacqueline Wales marked it as to-read Dec 17, Meghan marked it as to-read Mar 18, Teh Qiaoxin marked it as to-read May 15, Ashley marked it as to-read Feb 13, Scissor Stockings added it Jul 12, Jess Forevee marked it as to-read Apr 13, Deckard Ra marked it as to-read Oct 28, Azizah marked it as to-read Feb 13, Vivien Wee added it Jul 16, Zhong Cheng added it Aug 26, Niki Wang added it Jan 15, Yi Ling marked it as to-read Jan 16, This article has an unclear citation style.
Pleasure Factory (Kuaile Gongchang) | Review
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Pleasure Factory : Horrors of the Singapore Flesh Trade
In this worthy adaptation of the Japanese film "Rashomon," a young monk is left to determine the truth behind three competing perspectives after a bandit's disturbing murder trial. A teacher and his student go on a trip to a magical island where there is urban life and tourist attractions as well as a palace and temples. Moreover, a haunting past still gnaws, spreads, The lives of pleasure seekers and pleasure providers intertwine one night in Singapore's red light district.
According to Pleasure Factory, Geylang was once an area where factories process coconuts, but now have given way to brothels providing pleasure, with pimps eager to hawk their latest acquisitions to anyone loitering a little while longer.
Perhaps it's like Vegas, where what happens in Geylang stays in Geylang, that the characters here all have a propensity of not speaking. I would have no issues on this if the visuals, which paint a kaleidoscope of beautiful imagery showcasing the lure of the bright lights and the seedier side of what dwells amongst the shadows, can maintain a movie on its own before starting to look like Discovery Channel, but too often the narrative found itself caught up in the moment with its characters, in obvious short stories forced together through casual circumstances.
The three stories here were actually like snapshots, everything given on the surface, and without much depth. The first story is the perennial army boy seeking to pop his cherry, and what better way to do so than with someone of experience.
Loo Zihan who co-directed and was one of the leads in Solos stars as the Jonathan the army boy who while at first seemed shy and unwilling, on the goading of a friend Kiat Katashi Chen , managed to decide on the services of a buxom girl from China, Xue Er. I thought this story was the best amongst the three, in that it had clear direction in what it wanted to get at, interjected with good humour.
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It also painted the motivations of all the characters clearly, highlighting the play acting and masks that people wear, whether we really know the deep dark secret desires that others have in mind, and dalliances on love, lust, and of course, the virgin experience. Unfortnately, that cannot be said of the story involving the veterans Ananda Everingham and Yang Kuei-Mei, who's a regular in Tsai Mi ng-liang movies, that Pleasure Factory tries hard to emulate its minimalistic and reliance on visual language, with dismal results.
People hardly talk here, and the visuals relied a fair bit on the unsteadicam as it weaves about and around the corridors of a budget hotel.
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While Yang's Linda and Isabella Chan's teenage girl has a mother-daughter love-hate relationship suggested, it was Ananda's Chris that proved to be the story arc's undoing, given that his character had no clear motivation at all. He just appears, hesitates, feels sorry, and that's it, finding it hard to communicate to the duo given that he speaks only English.
KUAILE GONGCHANG - Festival de Cannes
And it's not the characters alone that have unclear objectives and motivations. The movie too was disjointed in itself, having succumbed to schizophrenic moments where it inserted two documentary styled interview footage into the narrative structure, thus having those sticking out like a sore thumb. While much of the narrative is fictional in nature, I thought that it may have felt a need to have a mockumentary? I thought this was a more of a conventional treatment of Herman Yau's Whispers and Moans in its tit-for-tat moment, but it does open one's eyes to having to resort to innovative methods to solicit, and cements the term "Special" being us ed in the trade.
