The House

The House, released in 2017, is a French drama film written and directed by Fanny Aragon and Marc Fitoussi. The film tells the story of Emma, a 27-year-old French novelist portrayed by Isabelle Huppert, who sets out to explore the world of prostitution in Berlin. Her intention is to write a book based on her experiences, adopting the style of gonzo journalism, which involves immersing oneself in the subject matter to gain a deeper understanding of it. Emma decides to join a brothel, where she undergoes a thorough screening process, including medical checks, psychological evaluations, and a lengthy interview. Her motive for doing so is multifaceted – she wants to get close to the world she seeks to portray, but her true intentions remain ambiguous. Is she genuinely interested in writing a novel about the lives of prostitutes, or is she using her writing as a facade to indulge in a fantasy? As Emma settles into her new life, she adopts the name 'Alice' and meets the other prostitutes, each with their own complex stories and motivations. There is Nadja, a Russian woman struggling to survive; Naomi, a Moroccan woman trapped in a cycle of abuse; and Manisha, an Indian woman forced into prostitution by her family. Through Emma's interactions with these women, the film delves into the harsh realities of the sex trade, exposing the societal inequalities, human trafficking, and personal demons that drive individuals into this line of work. Eventually, Emma's writing is placed on the backburner as she becomes increasingly immersed in the lives of her new 'family.' Her experiences are initially intended to last for just a few weeks, but she finds herself staying on for two years, developing intimate relationships with the women and becoming deeply invested in their struggles. During this time, she must confront the parts of her own personality that led her to this decision. Emma's primary reason for staying may not be solely about writing her book; her experiences have stirred up her own desires and insecurities. The film's cinematography is stark and unsettling, capturing the seedy underbelly of the brothel and the everyday lives of its occupants. The camera lingers on the dull grey walls, the cramped corridors, and the dirty, worn-out furnishings, providing a bleak backdrop to the characters' struggles. As the narrative unfolds, the audience is forced to confront the unsavory aspects of human nature, drawing parallels between Emma's experiences and the lived realities of those she surrounds herself with. As the two years pass, Emma's new life starts to take a toll on her. Her relationships with her loved ones back home begin to fray, and she must face the consequences of her prolonged absence. The strain becomes increasingly apparent, manifesting itself in her physical appearance, her mood, and her emotional state. Emma must confront the dissonance between her inner self and the persona she's created for herself in Berlin. Throughout the film, Isabelle Huppert delivers a complex and nuanced performance as Emma. Her portrayal brings to the forefront the contradictions and ambiguities of her character, heightening the intrigue about her motivations. As the narrative hurtles towards its conclusion, Emma's story raises more questions than answers. Has she truly been transformed by her experiences, or has she simply fallen deeper into the fantasies she initially sought to expose? Ultimately, The House presents a thought-provoking commentary on the lives of those trapped in the sex trade, shedding light on the societal, economic, and personal factors that lead women to this point. It is a gut-wrenching exploration of the commodification of human bodies and the difficulties of breaking free from the confines of the sex industry. The film also raises critical questions about Emma's own agency and intention – is writing a book about the sex trade about seeking the truth or seeking permission to indulge in a darker aspect of her personality?