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Submission

Submission

1969

NC-17

Director

Allen Savage

Runtime

73 minutes

Average Rating

No ratings yet

Synopsis

A psycho sex-fiend keeps his infantile girlfriend Vicky in Submission with candy bars, toys and, yes, hot wax. But when they plan on killing a wealthy lesbian, Vicky discovers she likes a woman's touch and plans a nasty surprise for her boneheaded boyfriend!

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Diversity & Representation

Overall Score

5.4/10

Fair


Category Breakdown

LGBTQ+ Representation

Excellent

The plot centers on a character discovering an attraction to women. This shift provides a pivot for the protagonist's agency, moving the story away from standard heteronormative tropes.

Gender Representation

Good

The film explores unconventional hierarchies by disrupting traditional power structures. The female protagonist moves from an infantile role toward calculated autonomy, subverting typical feminine passivity.

Racial & Ethnic Diversity

Minimal

The narrative appears focused on psychological and sexual dynamics within a likely homogeneous cast. There is no evidence of significant racial or ethnic diversity in the work.

Religious & Cultural Diversity

Good

The film rejects singular morality by focusing on psychological dysfunction and non-traditional domesticity. It emphasizes subjective desire over social or familial stability.

Disability Representation

Minimal

There is no evidence of characters with visible or invisible disabilities within the film's context.

Strengths

  • Challenges heteronormative expectations through queer-coded character discovery.
  • Subverts traditional gender hierarchies by granting the female protagonist autonomy.
  • Explores non-traditional domesticity and moral relativism.

Areas for Improvement

  • Lacks significant racial and ethnic diversity within the cast.
  • Focuses almost exclusively on a homogeneous social group.

AI Analysis

Submission stands out for its transgressive approach to identity, particularly through its engagement with queer discovery. By centering a plot point on a character's attraction to women, the film challenges the era's romantic norms and provides a rare moment of agency for its female lead. However, these progressive elements are heavily offset by a lack of racial and ethnic diversity. The focus remains strictly on the psychological and sexual dynamics of a likely homogeneous group, offering almost no representation of non-Anglo-Saxon identities. Ultimately, the film is a study in subverting power structures. While it succeeds in deconstructing traditional gendered passivity and exploring non-traditional domesticity, its narrow demographic scope limits its overall impact.

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