It’s an experience that feels like it's only meant to be viewed once in a lifetime, something detached and intangible. The film creates such distance between the viewer and what’s happening on screen that it feels as though the filmmakers didn’t even consider the audience’s perspective. Despite their efforts, there isn’t a single character you can relate to or like; the script doesn't help matters, and the overall impression is one of an incomplete and shaky final product, likely due to the director’s insistence on being abstract. The story unfolds around Exotica, a stylish strip club in Toronto. We follow a dancer who captivates not only a regular client but also the club’s host, her former boyfriend—a deeply unhappy and possessive person. A trafficker struggling with his sexuality is also involved, forced into a revenge plot. The combination of these elements results in a film that probably won't hold your interest for repeat viewings. Atom Egoyan delivers confident direction, but the script feels less assured and stable. I appreciate how it explores themes of loss, trauma, denial, and grief. However, the idea of a woman establishing an upscale strip club and her daughter taking over the “family business” ignores the realities of these businesses, where legal and illegal activities often intertwine. A genuine high-end establishment wouldn't offer private sessions on tables for a low price; those would be in separate rooms at significantly higher rates, and dancers typically don’t perform to the same music or use the same routines repeatedly. There are also significant plot holes that go unexplained and unresolved. For instance, why did Christina choose this profession when it seems clear she deserved something better? Bruce Greenwood is the most deserving of recognition for his performance. He's the only one attempting to connect with the audience, which deserves applause. Elias Koteas’ work isn’t exceptional, but still has some redeeming qualities. Mia Kirshner appears unenthusiastic and simply going through the motions. Don McKellar doesn’t fare much better, and Arsinée Khanjian's character feels poorly conceived and executed. Technically, the film is unremarkable. It meets expectations for a movie aiming for commercial appeal but seems more suited to festivals and film societies than mainstream audiences. The design of the strip club—a tropical atmosphere—and the soundtrack, featuring a song by Leonard Cohen, are definite highlights.

Source on TMDB