Black Mirror has tapped into our fears of the looming power of technology: cell phones, virtual reality, constant surveillance, it has addressed it all. But many of those episodes address a not-so-distant future. What about the technological fears happening now? Daniel Goldhaber’s film, Cam, addresses our current fears in the digital age, using the perspective of a cam girl who has had her identity stolen.
Lola is a cam girl who aspires to be in the Top 50 performers on her cam website. For those unfamiliar with camming, it is when someone, usually a woman, holds sex shows via webcam. Lola has devoted customers who tip well and even get private Skype chats for the right price. She works hard and has cultivated an online persona and aesthetic that she believes will get her to the top. But, just as she’s hit her stride and on track to hit that coveted top 50 spot, someone steals her account. What comes next is an increasingly bizarre journey to get her account back and find out who did this to her.
Sex workers in horror are treated like trash. They are extras to be thrown away, women to be punished for their overt sexuality, and scantly-clad figures to be torn apart. However, Cam succeeds in humanizing sex workers and showing them as hard-working people, mostly in part to Isa Mazzei’s involvement. Mazzei, a former sex worker, wrote the film and used many of her own personal experiences with camming for inspiration. This is not a film that demonizes sex work or tries to show Lola that she needs to stop doing it for some kind of retribution. Rather, it shows the reality of profession that is rarely seen in horror, or any genre of film really. Instead of sensationalizing her work or exploiting her body, the film presents her work as a job, something she’s doing for money and how she gains control over those watching her to rake in tips.