Director: Giulio Ciancamerla
Writers: Giulio Ciancamerla, Lucio Massa
Starring: Stefania Visconti, Leonardo Pace, Asia Liguori
This review first appeared on my older website Cosi Perversa.
During a photo show, a man enjoys scaring a girl until she decides to leave the exhibition. The man runs after her along increasingly dark and isolated streets. A man and a woman? Which one is the dominant genre?
This short film opens in a contemporary art gallery with a handsome man catching a woman’s eye, if only for a second. Shy and retiring she is clearly too nervous to do anything but steal frequent glances. However she has also caught the eye of another, a sexual predator, who carries a look of disgust and lust over his face and the pursuit of only one action on his mind.
The performances of our two leads, Leonardo Pace and the Cinecittà graduate & transgender model Stefania Visconti, are terrific. Working without dialogue both are still able to convey the required complex emotions required allowing the viewer to innately understand their thought processes. The ability of both helps provide an added level of believability to the films set up.
Now with director Giulio Ciancamerla having established these, sadly prevalent, social norms he immediately sets about subverting the role of gender as a discordant soundtrack emphasises both the sadistic and non-conventional approach the film takes to tacking its subject matter. It is this ‘torture’ sequence that is vaguely reminiscent of the way a couple of giallo masters would frame their sexual transgressions as the activity builds up to a disturbing climax that undoubtedly will elicit a reaction from the viewer.
At the most simplest, base level this is an empowered and violent role reversal of the sexes but Ciancamerla imbues the film with much more complexity for those willing to delve further down the rabbit hole, beyond the preliminary visual layer as he strips away the social concept of gender roles and masculinity in particular as our male (Leonardo Pace) is emasculated rather than dominant.
What we are left with is the realisation that our identities are a performance piece, sometimes for the admiration of others and sometimes for our own gratification at the expense of others. To paraphrase British playwright Shakespeare “All the world’s a stage… and one man in his time plays many parts” and this is never truer in UNDERCOVER MISTRESS where our projected self may in fact be very different and our capabilities exceed that of even what we expect when pushed.
According to the press release the idea behind Undercover Mistress is a contamination of “gender studies” with “erotic…psychological horror” and as such tackles subjects such as sexual identity, harassment and roles.
It is a challenging movie that no doubt will alienate many but for a few, it will raise societal questions and realisations as ugly as the violent acts it depicts. The fact that UNDERCOVER MISTRESS will appeal just as much to the arthouse liberal as the horror fan provides verification that the film has succeeded in its objectives perhaps even lending creedence to the subjects it tackles.
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I watched an online screener of the 13-minute short film which was at the time was winning several awards on the festival circuit. The film is nicely shot with clean, modern visuals and clear sound.