Dziewczyny, które gryzą. „Córki Dancingu” jako kino buntu

In Agnieszka Smoczyńska’s “The Lure” (“Córki Dancingu”, 2015) the siren heroines, by their very presence, violate the dominating – patriarchal and heteronormative – social order. This film is a cinema of great refusal, an example of a feminist and queer counter-cinema, which makes us look at reality through the prism of monsters and brings with it the promise of a different life, order and desire. Jagielski situates Smoczyńska’s film in the context of, firstly, camp aesthetics and bodily and abject genres (horror, musical and melodrama), and second – negative affects: unrequited love, sadness, depression, grief, loss or anger. He focuses on images of monstrous, fragmented bodies and sadomasochistic, melodramatic and musical performances. “Backwardness” – camp aesthetics, abnormal bodies, “weak” affects, unfashionable artefacts – lead the viewers of “The Lure”, as the author shows, towards utopia, hope and the future.