Michael Glawogger searched for love and its rituals in a Bangkok “Fishtank”, a Faridpur brothel house complex and in Reynosa's “La Zona”. He was looking for the normal, the ordinary of desire, the everyday nature of working on a pretense of feelings in which (or rather: to which?) one can quickly lose oneself. In prostitution, was the working hypothesis, love manifests itself more quickly, more steeply pointed, but also more fleetingly than elsewhere, because everything has to happen quickly. And the assumption proves to be true, and so Whores' Glory becomes a high mass of life, a celebration of love in all its opaque iridescence.
Every piece of cinema that Michael Glawogger creates, be it a documentary (Megacities, 1998; Workingman's Death, 2005) or a feature film (Contact High, 2009; Das Vaterspiel, 2009), is inspired by the fact that he wants to experience the world anew - because perhaps it is quite different from what is commonly said. And indeed: so often it is much more magnificent than anything we dared to believe. What he is looking for is the truth of the surfaces, the visible world. In Whores' Glory, these are: the faces of the hookers and punters, their poses like stories, and the often crammed business premises with knick-knacks, stuffed animals, pictures of saints and dildos lying around like lighters in other apartments - emotional deposits are layered there like geological eras.
