Whores’ Glory (Michael Glawogger, 2011):Austria

Reviewed by Barbara Rowland. Viewed at the Santa Barbara International Film Festival 2012.

Following, observing and capturing prostitutes performing their daily rituals, accredited director Michael Glawogger (Megacities, Workingman’s Death) leaves only a few stones unturned. As his third film to a trilogy of globalization documentaries Whores’ Glory works as the perfect bookend.  

Whores’ Glory follows stories of prostitution from three different countriess around the world but many different women. In a documentary format that sometimes leans on grind house editing, we learn about how cultures affect “the business.” The opening scenes shows the women of Thailand tempting their customers from a the high window of a night club. Music over footage amplifies their behaviors and nightly rituals. Transitioning, the film then follows their daily behaviors from an ethnographic perspective. From Thailand to Bangladesh and to Mexico we are introduced to the cultural differences in one of the oldest professions. Not only do the film follow the women and their daily routines, but it also focuses on how religion and drug use guides each culture through the process. At one time we are seen the women of Thailand praying before “work” to ensure they are granted many clients. Interviews are conducted for women from each city, but for the most part the film maintains an observational point of view. The nudity and graphic scenes are kept to a minimum, however they are present. As an audience however, we almost forget as our emotion takes over.

Taking a deeper look into the film we are asked to not only look at ourselves but also at different cultures differently. Instead of seeing just a pretty face or “prostitute”, we see many faces, each with a story, each with needs, and each with human emotions. The facts of each lifestyle are presented in a very realistic, raw way that unlike TV specials, shows closely acquainted perspectives.

The use of cinematography is brutal and beautiful as this sometimes graphic film also is showered with fragile expressions. This and the combination of emotion provoking choices of soundtrack by music supervisor Charlotte Glottermann (and additional collaborators) helps transport us as an audience not only with our ears but with our hearts.

The film asks us to also look at gender and sexuality as well. The roles that women and men play for each other in society is exposed for each guilty party. With this said however, what role do the innocent play? Those without a voice? Is prostitution a form of survival for some women? Are these questions linked to the creation of this film? Perhaps.

　As shocking as this film is at times, it tempts us as society to peer into the taboo. These are lifestyles whether they be chosen or not by the individual, they exist. The realistic perspectives at times can be slightly per formative, nonetheless emotionally moving. I think what was captured within Whore’s Glory can certainly be looked upon as an anthropological study or a cry for help, but I believe it is up to the viewer to decide.