Hollywood has never been shy to push the envelope when it comes to the involvement and popularisation of latex and rubber within some of the most well known and popular movies. Films such as the Underworld series, Batman Returns, Watchmen and The Matrix Trilogy all paid homage to our favourite shiny material. It’s therefore very exciting to see the addition of latex in the latest portrayal of a well known novel, The Girl in the Spider’s Web.
The Girl in the Spider’s Web is an action thriller directed by Fede Álvarez and written by Álvarez, Steven Knight, and Jay Basu. It is based on the novel of the same name written by David Lagercrantz. The film is believed to be a reboot and a sequel to David Fincher’s The Girl with the Dragon Tattoo movie, and as the second part in the Millennium film series. Fired from the National Security Agency, Frans Balder recruits hacker Lisbeth Salander (played by Claire Foy) to steal FireWall, a secret computer program which is able to access codes for nuclear weapons across the globe. This activity soon draws attention from an NSA agent who traces the download to Stockholm. Further problems arise when Russian thugs take Lisbeth’s laptop and kidnap a mathematics whizz who can make FireWall work. Now, Lisbeth and an unlikely ally must race against time to save the boy and recover the codes to avert disaster.
In the film, one scene of particular interest sees the lead protagonist, Lisbeth, sealed into a latex sack. Lisbeth can be seen stretching and struggling in an attempt to escape. When questioned about the writers motives for this, Álvarez commented:
“It came from Jay Basu, my co-writer. Most stories will reach the place sometime in the beginning of third act where the villain is going to be in front of the hero, and the hero is going to be strapped to a chair, and the villain is going to be unloading her plan. There’s always a version of that, and sometimes it’s not as literal, but there’s always a version of that. So, we knew we were going to get to that point, but we couldn’t do the chair. Or the pipe from the ceiling. So how do we constrict the character in a place that will be visual, that will be kind of perverse, that will also make sense and track in the story because what she’s doing to her at that point is the thing that she escaped from in that small prologue at the beginning of the movie. It’s the thing that Camilla suffered, but Lisbeth didn’t, so Camilla wants her to suffer what she did. That allowed obviously for one of my favorite moments in the movie when she’s rebirthed, since death and rebirth are classic beats of the third act. And what better rebirth than coming out from the placenta, all sweaty and with no clothes, when you finally realize that you’re ready to face the end of your story?”
The trailer for the film can be seen below
For further information on the film check out the official Sony Movies website.
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