Opinion | ‘Deep Water’s’ sexless thrills: Did politics and an era of adolescent fandom kill the erotic thriller?

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‘Deep Water’s’ sexless thrills: Did politics and an era of adolescent fandom kill the erotic thriller? sorayaroberts writes. Review

Everyone is hungry for a good erotic thriller, but no one is hungrier than me. Two years ago, Disney announced the release of the first erotic thriller in two decades by the master of the genre, the man behind “9 1/2 Weeks,” “Fatal Attraction,”” an adaptation of Patricia Highsmith’s 1957 novel, Ben Affleck and Ana de Armas play a married couple whose open relationship boasts a body count. It only made the whole thing more irresistible that the stars were a real-life couple at the time .

And what a tease — De Armas and Affleck picnicking, his hand between her legs, heavy breathing. It was all very in line with Lyne, and the excitement on social media was palpable. But Disney still held off on publicizing the film. When I ultimately told Lyne — whom I secured at the last minute through Amazon Prime —I had been pursuing him for two years, he burst out laughing: “It was COVID, I was cowering in a corner.

The context for the erotic thriller, has of course changed since the ‘80s when Lyne was in his heyday. “I haven’t really been thinking endlessly about Me Too,” he says, a funny observation considering “Fatal Attraction,” which came to define both the erotic thriller and Lyne’s career, was originally about the same thing: a desire to hold men accountable. That storyline is what attracted producer Sherry Lansing to the project.

explicitness infused the genre, which turned women’s sexuality into a weapon and later a feminist threat to family values.the family is fetishized, the anxiety-inducing thrill always introduced by an interloper. Lyne idolizes French new wave filmmaker Claude Chabrol, a master of bourgeois corruption, a milieu Lyne gravitates both towards and away from. In his films this manifests in the juxtaposition of downtown New York’s gloomy grit with the sun-kissed softness of suburban domesticity.

 

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