Why did you want to shoot it that way?
Foner: Because I wanted it to be real. I wanted it to feel like what it really feels like. A woman experiencing sex is literally sort of opening herself up. And what you see when it's happening is not this male idea of what you see in pornography, which is body parts. You can't see any body parts when you're having sex. You see ears and hair and eyes. And I wanted that to be what you saw. And to me that seemed like an extremely unusual, very female perspective.
But completely genuine.
Foner:Yeah, totally real.
Fidell:I made a short film that had an extended rape scene in it, and shot it very close up on her face during it. And I think that was the longest take of the whole film.
Foner:Well, I wanted to see what she was seeing. Not her face. I wanted to see his face.
Fidell: Sure. Yeah, I understand that. Yeah.
Cowperthwaite: You wanted to put the audience in the character's point of view, in a woman's experience of sex.
Right. Which is what you're doing, just from a different—and you think that's largely missing from films. And you're talking about the emotional, physical act of sex. So you think that's generally missing, like, how sex is depicted?
Foner: From a female point of view, it is. And what was so interesting to me is that what the male viewer is looking at, they saw it as angry and aggressive and negative in some way. And it was—
Cowperthwaite: Because it wasn't flattering to them.
Foner: In some way.
Cowperthwaite: They don't want to see themselves that way. They want to see that as being transformative to the woman.
Foner: And they don't want to see that that's what we see.
Cowperthwaite: Or that that's what we experience. That it does feel perhaps aggressive.
They'd rather see the woman smiling and ecstatic?
Cowperthwaite: In ecstasy, yeah.
Foner:They'd rather see two people over there, body view.
Cowperthwaite: Perfect bodies.
Dabis: Yeah, yeah.