(2011.) — Elles

📄 Beyond the Gaze: Domesticity and Transactional Labor in Małgorzata Szumowska’s Elles (2011) 📌 Abstract

This realization builds to the film's climax, where Anne's attempt to reconcile her reawakened desires with her mundane family life collapses, manifesting in a sensory and psychological overload during a dinner party. Cinematic Technique and the Female Gaze Elles (2011.)

: A Polish immigrant student who views her clients with a detached, clinical sense of business. She uses the income to achieve independence and class mobility in a foreign city. 📄 Beyond the Gaze: Domesticity and Transactional Labor

Rather than leaning into a moralistic or purely sensationalist exploitation of its subject matter, the film utilizes the raw, candid testimonies of the young women to reflect Anne's own internal alienation. In doing so, Elles highlights a central paradox: the young women selling their bodies maintain a sense of compartmentalized autonomy, while the socially approved domestic life of the middle-class woman operates as its own form of unacknowledged, stifling transaction. The Duality of Agency and Exploitation Rather than leaning into a moralistic or purely

Małgorzata Szumowska’s 2011 film Elles offers a provocative exploration of modern female sexuality, autonomy, and class division. By juxtaposing the lives of Alice and Alicja—two young university students engaged in sex work—with Anne, a privileged journalist researching their stories, the film challenges traditional cinematic representations of sex work. This paper argues that Elles operates as a critique of the modern bourgeois family, suggesting that the transactional nature of sex work is mirrored by the emotional and physical compromises required of women within conventional domestic structures. Through its unflinching gaze, Szumowska’s work dismantles the binary of the "empowered" versus "exploited" woman, forcing a reexamination of agency under late capitalism. Introduction

The most compelling thematic maneuver in Elles is the mirroring of the students' lives with Anne’s sterile domestic existence. Anne seemingly has it all: a successful career, a wealthy husband, and a beautiful apartment. Yet, Szumowska frames her home not as a sanctuary, but as a site of profound emotional disconnect.