In Rule 34 (2023), she looks at a luscious, glossy onion that grasps her attention. She holds it, reminisces as a juicy red apple, and chews it immediately. The pungency and rawness are uptight and blaze her radar palate, founding a sense of stimulation inside her mind empire. Simone has never been forced to do anything, as everything that embarks from her pivotal mindset comes from her way of concluding based on her experience.
We see an empowered woman who never goes behind the books while in a professional work debate or an enlightening idea-sharing rung, as her points are directive towards the current era of a patriarchal society. Her alluring quotes while she positions her thoughts through deliberations often have a form of breath cultivation, more or less a distinctive way of matching her grit based on her ongoing cases of criminal laws. What if her personal space gets mushed by all the hindrances she has subjugated so far?
Rule 34 is a conjectural study of an iron-willed woman who stumbles upon the rudiments of male chauvinism through her work process and wants to make a change based on how it affects her surroundings from her thought process. The intricate response of how she carries herself to expand her visions of looking at those cases based on her indulgence in pleasure blinks both eyes of serenity into a pool of discovery and self-dominance. The film, which won the Golden Leopard award at the 2022 Locarno film festival, moves into the cellar of creativity wines and forms two core elements: body politics and community politics.
Body politics – Simone enjoys carrying on with online sex chatting as her personal way of moving along the board of time. Experiencing the craves of circulating lust as a form of online business has made her magnify her senses from thunders of requests, which has also become a regularity within her four walls of self-space. Receiving tokens as rewards has also driven her to feel pleased and move forward even deeper into a world of jeopardies and perils awaiting the floors of quandaries.
Actress Sol Miranda who played Simone needs to be appreciated for her mastery of blinding the audience while anticipating to encounter her next strategy, as her footpaths are often a mystery. Simone starts using pain and lesions on her body as her trail to understand the foundations of indulgence and supremacy, which commutes with her professional space. Repulsiveness and built-up compression have definitely been on the bricks of her mind to grow her plantation of robustness, which has made her go beyond the bars that she has set to make herself sane with the ongoing drawbacks of social reality.
Director Julia Murat has taken the audience on an expedition of synthesizing sexual desires as a portal of elucidation to set it right with the tremors of gaining freedom among women and races. The oppression is not shown directly through particular segments. Still, it mostly gets referenced through discussions and healthy arguments, which clears the air when it comes to the absorption of the accentuated issues. We ought to believe that the wounded pain often dwells more into the specifics of debauchery, which glows up sufficiently through the expansion of Simone’s acts.
The fundamentals of BDSM also get covered in this film that won best director at the 24th Festival do Rio. The reliance on trust and exchange as part of the cells of BDSM gets questioned through the vulnerabilities of those in need, often used to maximize the pleasure meter and hike up as a multilevel senior post on severance of lust. For instance, we see Simone arguing with her friend Lucia after having a ‘safe’ BDSM session with her male friend Coyote, ending with her bruises and cuts all over her hands. Simone seems gratified with the upshot of the process and believes that it has made her sturdier and more ready to face the political challenges of life, which brings her into a web of dark desires through an invited door.
Community Politics – Simone is a law student who believes in the current inequality of women through her cases, where several women welcome her into their life of struggles due to male dominance. Cases of men stopping women from working and men performing domestic abuse against women in households are among the many coherent cases that exist on the prejudiced earth. The amplified number of cases in Brazil due to femicide has made the injustice stairs shatter into pieces.
At the same time, the current state of the law has shared its way of prohibiting and permitting these atrocities to transpire all at once. The massive yet imperative debates held in her professional classes create a virtual room to open the eyes of the viewers to the public’s rights and acts against the violation of the state, which also describes the key accounts of structural aggression.
The editing of the film done by the director herself, along with Beatriz Pomar and Mair Tavares, binds up the plight of these women concurrently within the space given to represent their cases, which is shown stunningly in this film. Simone, who has been witnessing these women and looking at how the cases have ended beyond her grips of changing their fates, gets toasted with silent furiousness and eroticism.
Rule 34, which is, in fact, a meme created on the world wide web, is a discovery tool that has more than just rules to be followed. There is a thin line that forms between a personal take on sexual eroticism and a professional take on abuses and injustice that captures the free form of rights. Although both factors are not directly proportional to each other, the gravity and the magnitude that gets heated up under the grounds of these factors can flow the lava of breakthroughs if both worlds are shaken up concomitantly.
Questions like “Who dominates the pornography websites?” and “Who controls the repulsion of the oppressed?” are central attributes that flow progressively to the best and worst of both worlds. As for that, a woman who has placed her foot in both lakes would need to swim across the predator-filled world to find her eventual goal.
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