"We women are actually very unhappy creatures. It is hard to survive as a woman. Why do women have to suffer this much? Isn't there another path for us? Is there a path at all?". Amazing documentary, a must-see.
Fashionably liberal enough to make the startling equation Capitalism=Prostitution, but unable to mask its absence of ideas or anything new to say. One doesn't feel that Glawogger understands or has any interest in the places he goes, that he simply arrived and said "Show me your whorehouses." Like other popular "Art" filmmakers - Reygadas, Winterbottom, Bonello - the director goes pornographic by end of film. Hmm...
Very much a judgement free, fly-on-the-wall view of prostitution across three developing countries and different religions. It's fascinating not so much for what the director is saying but more for the access granted and what comes out of the mouths of everyone involved. The final 'staged scene' detracts from the otherwise impartial p.o.v 3.5 stars
Michael Glawogger's eye opening documentary about global prostitution never takes a stand on whether or not the things he is observing is right or wrong, choosing instead to present it for the audience's consideration. Powerfully observant, WHORE'S GLORY is both shocking and intimate, a piercing exploration of the women who sell themselves and the men who love them. Vibrantly alive and strangely moving.
Rather than resorting to victimhood or offering condescending palliatives, 'Whores' Glory' instead imprints a vivid sense of human connection that overrides our responses based in conventional morality. While Glawogger has a self-important and somewhat rockstarish approach as a filmmaker, he is still, in my opinion, absolutely vital, his profound commitment to the subjects resonating from the film's soulful core.
A glimpse into a hidden world, unveiling the emotion and humanism of the often objectified working women spanning across various countries. The camera, often stood by, like an outside observer, an omniscient presence, that did not seem to deter the subjects from acting naturally. Glawogger is skillfully able to extract an uncanny verisimilitude with his film, not condoning or condemning, allowing the viewer to decide