Female Perversions review – Tilda Swinton searches for erotic adventures in rework of Madame Bovary

The actor’s 1996 first US film, as a lawyer trying to manage her complicated love life and traumatic fantasies, marked her out as a screen presence like no other Tilda Swinton made her US debut 30 years ago with this insouciant, startling, experimental adventure in eroticism and

The actor’s 1996 first US film, as a lawyer trying to manage her complicated love life and traumatic fantasies, marked her out as a screen presence like no other Tilda Swinton made her US debut 30 years ago with this insouciant, startling, experimental adventure in eroticism and neuroticism. It’s an amazingly unselfconscious performance which marked her out as quite unlike any other female lead, all but impossible to cast in boilerplate Hollywood cinema. First-time indie film-maker Susan Streitfeld was director and co-writer on this adaptation of psychoanalyst Louise J Kaplan ’s nonfiction study Female Perversions: The Temptations of Emma Bovary, which suggested that what we think of perversions are not clinical pathologies, but creative and liberating strategies, nonconformist choreographies, modes of escaping oppressive gender roles, and a rational search for pleasure.

Streitfeld’s fictional reworking does not focus on Emma Bovary. Instead Swinton plays a character called Eve, a brilliant, beautiful – and single – lawyer with an elegant, angular style; she is as graceful and sometimes comically clumsy as a baby giraffe. Eve is having a passionate affair with a hunky seismologist called John (Clancy Brown), an amusing metaphor for the quake-level sex they’re having.

She is also deeply attractive and attracted to women, yet also assailed by traumatised fantasies or flashbacks of something in her past; there are terrible lurches of guilt or fear, abuse, loss, self-harm or impostor syndrome. Continue reading...