The Red Light Rules

We're Reviewing Sex Work Representation in Film.

The Bechdel Test is a way to measure how women are portrayed in media. At ECC, we created 'The Red Light Rules' to asses portrayals of sex work in film. There are 4 questions in The Red Light Rules:

1. Does the film show an understanding of choice, circumstance, or coercion?
2. Does the SWer interact with another person in a positive manner, unrelated to SW?
3. Does the SWer have a storyline, hobby or interest outside of SW
4. Does the film have a happy and/or non-traumatic ending for the SWer?

As part of a new series exploring sex worker representation in film, we will be sharing which films pass and which films fail! Be sure to follow along on our blog, or social media: Instagram, Threads, Bluesky.

What Each Question is Assessing:

Does the film show an understanding of choice, circumstance, or coercion? 

The phrase “choice, circumstance, or coercion” offers a more expansive and accurate framework for representing people in the sex industry. It recognizes that people enter the industry through a range of pathways:

•  Choice: Some people engage in sex work by choice. Whether that be for empowerment, autonomy or as a form of labor like any other job.
•  Circumstance: Others do so because of structural barriers. Sex work may be the most viable or only available option due to poverty, gender identity, disability status or lack of access to other forms of employment for various reasons.
•  Coercion: This includes those who are trafficked or otherwise exploited.

Many people move through choice, circumstance, or coercion over time or simultaneously. Recognizing this spectrum underscores how capitalism and systems of oppression (racism, sexism, classism, etc.) shape access to labor and survival. It also challenges the idea that sex work is uniquely exploitative when, in fact, all labor under capitalism is exploitative.

A strong example is Poor Things. When Bella reaches Paris with no money, she chooses to work at a bordello to earn income and later returns, not out of desperation, but for freedom, pleasure and financial independence. This film illustrates how choice and circumstance can overlap without sensationalism or moral judgment. 

A poor example is any media that collapses all sex work into trafficking like Taken or a typical Law & Order episode. These media representations typically portray white women who are kidnapped into ’sex slave’ rings, sometimes moved across borders (highlighting xenophobic rhetoric), ultimately ignoring the broader systemic causes of trafficking and misrepresenting the most common stories of exploitation. These portrayls also pathologize people who have experienced exploitation.

Does the SWer interact with another person in a positive manner, unrelated to SW? 

In most media, sex workers are rarely shown having meaningful interactions outside of their work. This erases the reality that sex workers, like everyone else, live full lives sharing small talk with neighbors, building friendships and being part of thriving communities that care for them.

This question invites us to look beyond exclusively transactional or stereotyped portrayals and consider whether the character is depicted as a whole person with relationships that aren't tied to their job.

A strong example is Vivre Sa Vie. In a poignant scene, Nana shares a philosophical conversation with a stranger in a café. Their interaction is playful, thoughtful, human and entirely unrelated to her work.

A poor example is Anora. Ani's only interactions with people outside of her work, including her in-laws, are marked by conflict or tension. A poor example might also look like a film that does not show the sex worker character interacting with others outside of their work at all.

Does the SWer have a storyline, hobby or interest outside of SW?

Sex workers are frequently portrayed as one-dimensional characters, erasing their full humanity. Sex workers, like anyone else, live multifaceted lives as parents, creatives, students and more.

By asking whether a sex worker character has interests or a storyline unrelated to their work, we hope to assess whether they are being represented as whole people rather than stereotypical figures.

A strong example is Kokomo City, a documentary that gives a intimate glimpse into the lives of sex workers who we see going to nightclubs, relaxing at home, smoking together, sharing personal reflections and family dynamics. This helps us to see their complexity and individuality.

A poor example is Sanctuary. While this film doesn’t necessarily portray the sex worker character negatively, it confines her presence almost entirely to the context of her work, missing an opportunity to explore her fuller humanity.

Does the film have a happy and/or non traumatic ending for the SW?

Historically, sex workers in film are overwhelmingly met with violent or tragic endings, typically killed, assaulted or otherwise punished simply for existing as sex workers. These endings send a dangerous message: that sex workers are disposable, morally corrupt or fated to suffer. This trope dehumanizes sex workers and reinforces harmful narratives that sex work is inherently bad.

While a happy ending is ideal, we recognize non-traumatic endings as important. This might look like affirming the character’s agency or peace with their choices, even if the resolution isn’t conventionally joyful. We also hold space for ambiguous endings, so long as they don’t default to trauma. Ambiguity can reflect real-world nuance, especially when presented with dignity, complexity or emotional neutrality.

A strong example is Sanctuary, where Rebecca not only survives but thrives. She gets the guy, takes control of the company and clearly makes empowered choices centering herself.  Sonny offers another good example: the film ends with the main character contemplating his future in sex work. It’s unresolved, but emotionally grounded and centered around his autonomy, not punishment.

A poor example is Vivre Sa Vie, where the sex worker protagonist is shot and killed. This kind of ending reinforces the harmful idea that sex work inevitably leads to death and despair.