When we think about Hollywood, we immediately think of it as a movie powerhouse. A place where different realities are put together to be shown on screen. A place which often reflects society back to us through a distorted lens. But why is it when women especially sex workers are on screen, they are portrayed in a bad light where they are deemed to be sexualised.

Carol Martin-Sperry, a sex worker’s therapist and author, expresses deep concerns about the probable harm with the evolution of sex work, particularly in movies. She explains the motivations and circumstances that lead women into this career path.

“A lot of them work [as sex workers] out of poverty because they’re not fully employed or employable and they have family, children. They see it as the only way of earning some money,” she elaborates, “and from my experience, I know that there are a certain number of sex workers who are unfortunately drug addicts, and they need the money to buy their drugs.”

She argues that sex work on screen is written out to be a glamorous or easy path to financial success can mislead viewers, particularly young women, into believing it’s a viable and desirable career option. This glamorisation, often seen in films and other forms of media, can downplay the very real risks and challenges associated with sex work, including the likelihood for exploitation, abuse, and long-term psychological trauma.

Carol also believes that the sex work industry is largely controlled by men, creating a systemic power imbalance. She feels that the constant pressure to meet the demands of male consumers can have a significant impact on the mental and emotional well-being of sex workers, leading to feelings of guilt, shame, and self-doubt.

“Going back to sex work in movies, I mean quite strongly that this is my personal opinion, but any kind of sex work is exploitative. It’s degrading, demeaning, and it kind of debases the value of sex as a form of communication with an equal partner that you give consent to. The movies don’t show you that though.”

The ties between feminism and sex work, especially when it’s in movies, is a difficult issue. While feminist discourse often emphasises female empowerment and agency, the portrayal of sex work in mainstream media frequently contradicts these ideals.

Saw Ming En, a movie director in training at the University of Bristol, expressed her opinions on the depiction of women in films. “The way female characters are frequently sexualised through lingering camera angles, revealing costumes, and narratives that prioritise their relationships with men over their personal agency. For example, the need to add a scandalous camera pan of a woman’s figure in the middle of a fight scene between a male protagonist and some other guy trying to kill him, despite it adding nothing to the plot.”

I spoke to Ashley Paul, a feminist and a content contributor to the Feminist Book Club, who was excited to tell me about her take on women empowerment in films. “Female empowerment is often portrayed as more flowers and slumber parties to be more palatable as popcorn at the box office.”

“The film needs to show more of being a woman. Women cannot really be in hard times not because they have to always be strong but because they have to be pretty and popular.”

Read more about misogynistic tropes in movies and TV shows

Ming En then tells me about when Natalie Portman called out the 2018 Golden Globes or the 2020 Academy Awards for the lack of female nominees in the Director of a Motion Picture category. Natalie Portman was then called out afterwards by the public for rarely working with female directors herself. While two things can be true at the same time, it begs the question as to why the topic of women representation in film can cause so much uproar.

The film student adds on to the point about the male gaze, a term that was created by Laura Mulvey in 1973. “The male gaze critiques how cinema reinforces gender power dynamics. More specifically how some films are still being made as an objectification of women through a male perspective, emphasising their appearance over agency. This is evident in the way female characters are frequently sexualised through lingering camera angles, revealing costumes, and narratives that prioritise their relationships with men over their personal agency.”

Good examples of movies that have shown women from different pathways being bonded by tragedy and relatable experiences are “Big Little Lies” and “Barbie” were both tremendously done films. “Barbie” explores a variety of themes of female empowerment, self-discovery, and societal expectations, presenting a more realistic picture of womanhood. Similarly, “Big Little Lies” delves into the complications of female friendships, motherhood, and the realities of marriage, showcasing a range of female experiences with honesty and depth. This shift in perspective creates a growing desire for more accurate representation of women in film.

Although more viewers are advocating for a change in the depiction of women in movies, there’s still a huge issue with sex work in film. It’s a particularly grey and problematic area, which often dives into misogynistic narratives.

Ashley acknowledges the increase of movies in Hollywood that cover the topic of sex work. “Hollywood is moving towards making sex work onscreen more complex because that is what the audience demands. Film is a canvas for information and can teach an audience about lives that they will never experience. Representation is not a buzz word. It is a pivotal awareness of humanity.”

There are variations of the depiction of sex work in movies. However, the majority shows sex work as either a desperate last resort for impoverished women or a hypersexualised fantasy. Which often strengthens harmful stereotypes, reducing sex workers to mere objects of desire, devoid of agency, autonomy, and any guise of a very complicated inner life.

“Hustlers” initially appears to offer an insight on the sex work industry, it falls short by showcasing the exploitative nature of the industry instead. The film follows an innovative group of strippers who scam wealthy clients, but as it progresses, it slowly starts to push out the so-called female empowerment through crime and manipulation.

This critique of “Hustlers” aligns with the broader concerns raised about sex work in film, where the women are reduced to money-hungry and manipulative women. However, Sean Baker’s “Anora” showcases their resilience, struggles, and humanity.

Showing the grass on the other side, however, is not without its challenges. The Cannes Palme d’Or-winner, modern day take on Cinderella and Pretty Woman has faced criticism for its display of soft-pornography in the introduction, as well as the lead actress’ decision on having a sex coordinator, which seemingly goes against the intended message of the movie.

“Actors should have the final say on the ownership of their bodies on screen, the presence of an intimacy coordinator is generally seen as a safeguard that ensures boundaries are maintained and performers feel protected throughout the filming process,” Ming En explains.

“Mikey Madison’s decision invites a broader conversation about whether declining an intimacy coordinator sets a precedent that could pressure other actors into making similar choices, even when they feel uncomfortable. With Anora tackling sensitive themes that inherently carry risks of exploitation or misinterpretation, the decision to navigate those moments without specialised guidance is somewhat unexpected.”

Films require an ethical commitment, prioritising the safety and well-being of actors, and ensuring that the narratives presented on screen reflect the diverse realities of sex workers with authenticity and respect.

This observation highlights the need for more authentic portrayals of women on screen, including those who engage in sex work.

“Personally, I believe that beyond showcasing more nuanced stories about women on screen, there is a crucial need for greater female representation behind the scenes, along with the recognition they deserve,” Ming En says, “But, on top of that, while activists want to call out the excessive male domination in the film industry, there is also a need to stay true to what we preach, including accepting films made by and for women. There will be no progress when we speak with no action.”

By showing a more realistic side in the portrayal of women, Hollywood can move beyond the confines of exploitative narratives and contribute to a more just and equitable society for all women.