It makes for fairly depressing viewing, this documentary, and I’m not convinced that any film about the porn industry could ever fail to be, at least a little bit. Then again, there are times during Hot Girls Wanted when I can’t help but feel we’re only being given part of the picture. It’s clearly an exploitative profession, and the film’s focus is on young women who have just turned 18 getting into the business, so the angle is that these women are prey for a rapacious industry that demands constant turnover of talent. And yes, quite a bit of the work we see them doing is blatantly misogynist, particularly the unsettling abuse porn. But at the same time it’s refreshing to hear from the women themselves, all of whom, despite their ages, are intelligent and self-possessed and hardly seem particularly ingenuous about what they’re getting involved with. The film makes it clear that most women are in the industry for only very short amounts of time (less than 6 months in most cases), though the end titles reveal that two of the five young women who are featured most prominently are still in the industry, so perhaps there’s an angle with their stories that wasn’t quite so evident. What the film prefers to focus on is the importance of social media (particularly Twitter, which informs the film’s on-screen titling), as well as the way that the work influences the women’s families and relationships, and to a lesser extent the casually possessive and derogatory way of some of the (male) filmmakers and agents. Perhaps indeed more regulation is required, and this feels like the film’s big message, but from what we see it almost looks like a quaint cottage industry (our talent scout is a puppy-loving 23-year-old dude, and the male actors all seem little more than pathetic). That said, I’m hardly about to mount a vigorous defence of pornography. Another of the ideas the film toys with in an early sequence is the way that the pornography industry redefines how people see and present themselves and the way that this affects their interactions at a far wider level (and social media certainly plays a part there) — and I think there’s a far more angry film to be made about that. However, as a film about the human cost of working within this world, I’d have liked to have heard more from the women who stuck around. In some ways, I think that might have been more challenging.
NB: This doesn’t technically qualify for my New Year’s Resolution, as it wasn’t officially released to cinemas, but instead premiered on Netflix.
Directors Jill Bauer and Ronna Gradus; Writer Brittany Huckabee; Cinematographer Gradus; Length 84 minutes.
Seen at home (Netflix streaming), London, Wednesday 29 July 2015.