Have you heard about this stuff – the popular ‘Cam’ by Netflix? Read about this to say voyeur video. So charming Alice (played by Madeline Brewer) is a successful female and has definite career prospects:
- the girl works as a webcam model;
- the audience loves her;
- and she is about to get into the top 50 website workers.
She has established boundaries:
- refusal to imitate orgasms and no public speaking);
- mom knows nothing about the source of income;
- the nickname Lola makes it possible to separate virtual and real life.
The popularity of Lola comes not only due to the banal nudity: the main character does not stop to mix Thanatos and Eros, imitating suicide online. Crazy? But the model does not hide the fakeness of her actions, this is like an evil game. However, at some point, the electronic-erotic idyll breaks off: the account was hacked, it is almost impossible to prove your identity, but the main thing is that someone, like two drops of water similar to Alice, continues her work.
Here what critics say about this ‘voyeur video’:
- It makes lifeundercam as the main shooting object. It seems to be an ideal construct that fits the theme of duality. The “webcam” can be described as “Dostoevsky meets the “Black Mirror ”, although, like all similar formulas, this will be a deliberate simplification on the verge of neglect. Alice is taken away not by a person, but by a creative project – the image of supergirl, obviously, created as a tool not only for earnings but also for self-expression.
- A movie can be viewed through the prism of feminism or a more general social perspective, although it would be equally interesting to see it as an attempt to conceive a new type of subject – a digital image, cut off from the real person and living its own life. The interrelation of this image and its creator becomes a subject for the analysis of human physicality and vulnerability
- The beauty of “Cam” is that it presents the viewers not with a pretentious screen-life format (although its elements are present here), but a real “live” screen. In the modest ambitions of the creators is the power of the film: instead of manifesting and developing a new cinema language, we see a more or less standardly written and filmed story, at the core of which there is a paradoxical assumption that a certain network is able to live its own life.
Don’t wait for any final explanation, which, whatever one may say, would be commonplace – fortunately, the film is full of inconsistencies. Just think about what is most important for you in this context.