THE STORY – A lush 16mm fever dream that reimagines The Fool’s Journey of the Tarot through the story of AP- a sanguine young woman seeking salvation from a curse. AP is promised by not one but multiple psychics that -for a cool $1000 and the sacrifice of a baby lamb- it can be lifted. So, she makes money the only way she knows how, scootering her way deeper into the night, into the uncouth underbelly of Trashtown.
THE CAST – Annapurna Sriram, Sadie Scott, Francois Arnaud, Damian Young, Big Freedia, Brandon Flynn, Lorrie Odom, Jowin Batoon, Tamika Lawrence & Arianna Ortiz
THE TEAM – Annapurna Sriram (Director/Writer)
THE RUNNING TIME – 106 Minutes
“Fucktoys,” directed and written by Annapurna Sriram in her feature debut, is an audacious and campy adventure that blends grindhouse aesthetics with an exploration of sexuality and self-empowerment. It’s a wild, chaotic experience that takes viewers on a journey through the filth and fantasy of Trashtown, USA. It also feels like a rare cinematic experience, one where women and queer storytellers can explore things like sexuality unapologetically. While men are celebrated for pushing boundaries in storytelling – this year’s Best Picture winner “Anora” comes to mind – it’s time for women to look at the topic of sex work. The film feels like an empowering reclamation and an act of rebellion against what women – in this case, women filmmakers – are told what they can and can’t do.
From the very first scene, “Fucktoys” establishes itself as a fever dream. It’s a narrative that feels unpredictable, as its protagonist, AP (played by Sriram), is trapped under a curse. The curse, manifesting in everything from lost teeth to bad luck and broken relationships, leads AP to a series of increasingly absurd situations as she desperately seeks to lift it. And lifting it will cost her $1,000.
AP’s quest for money to get unfucked by black magic finds her indulging in men’s kinks – using her body as a means to an end. But the world of “Fucktoys” isn’t just about physical transactions; it’s also a space that unapologetically embraces human sexuality, subverting the usual objectification of women’s bodies. It’s not degrading; rather, it’s a rebellious act of empowerment. The title itself is a playful yet subversive nod to the term “fuckboy,” the kind of guy many women find themselves having to deal with. But no more.
The film’s vibrant, campy tone takes us through a series of increasingly bizarre encounters, often dark and raunchy. AP’s chaotic journey through Trashtown is driven by an array of eccentric characters, including her non-binary ex-con friend Danni (Sadie Scott), a psychotic sugar daddy (François Arnaud), and various tarot readers who push her on this Fool’sJourney. Each interaction adds to the growing absurdity, with AP constantly searching for the means to escape her curse while encountering the seedy underbelly of the world she inhabits.
Cory Fraiman-Lott’s cinematography invokes the raw, DIY charm of the ’70s gritty sensibility with its lush 16 mm film. This aesthetic gives the film a nostalgic feel, even as it tackles contemporary issues with a surreal edge. Yet, despite its visual flair and captivating characters, “Fucktoys” sometimes falters in pacing. The narrative feels repetitive as AP’s journey becomes increasingly familiar – her struggles to earn money, the strange encounters with men and psychics, and the never-ending quest to lift her curse. The storytelling has a sense of wanderlust, but the film doesn’t quite build to the satisfying payoff it seems to promise. The finale, when you expect AP to finally lift the curse, feels slightly underdeveloped.
Undeniably sexy, fun, and chaotic, “Fucktoys” is also surprisingly layered with a dark and raunchy surface that reveals a commentary on empowerment, the need for self-reclamation, and the relentless drive to escape one’s circumstances. “Fucktoys” is, at its core, an act of defiance – a manifesto that pushes back against the sanitized, safe storytelling that has become all too familiar in American cinema. While its messy, chaotic nature might turn some off, it’s a film that boldly refuses to conform, embracing a punk ethos instead of the mainstream.
