Director: Lana Wachowski, Lilly Wachowski
Writer: Lana Wachowski, Lilly Wachowski
Stars: Jennifer Tilly, Gina Gershon, Joe Pantoliana
Synopsis: Tough ex-con Corky and her lover Violet concoct a scheme to steal millions of stashed mob money and pin the blame on Violet’s crooked boyfriend Caesar.
When someone brings up legendary directors Lana and Lilly Wachowski, people most instantly think of The Matrix. And honestly, I wouldn’t blame them; the sci-fi action film became a complete phenomenon. It introduced Western audiences to Wire-Fu choreography, immersive CGI, and even got people into simulation theory. While The Matrix is undoubtedly a staple in movie history, before the “red pill” and “blue pill” craze, there was Bound, the Wachowskis’ directorial debut. 30 years later, the film still stands as one of the greatest debuts ever, and its success is no small feat.
For those who haven’t seen the thrilling lesbian neo-noir from 1996, it follows ex-con Corky (Gina Gershon), who falls for her neighbor Violet (Jennifer Tilly). There’s just one problem with their romance: Violet has a boyfriend, Caesar (Joe Pantoliano), a mafia man who won’t let her go without a fight. So the lovers have to create a plan not only to put Caesar away for good but also to secure their future together. In their minds, the best way is to steal a few million dollars of stashed-away mafia money and make Caesar the target.
Bound establishes early on that Lana and Lilly know how to write a captivating, yearning LGBTQ romance where Corky and Violet can be happy. They made a same sex couple in the ‘90s when most erotic thrillers that were popular during the time centered around a male lead and his female love interest. Corky is a rough-around-the-edges woman with plenty of run-ins with the law. Chewing on a toothpick in her blue jeans and white tank top, she exudes a masculine energy while maintaining her sensuality. On the other hand, Violet is the sultry femme fatale in dark lipstick and a plunging neckline; though she’s more than eye candy, her wit gets them out of trouble more than once. Their relationship is refreshingly confident in its portrayal, especially during its intimate moments; the film feels entirely made for the female gaze, where sex is desirable and consensual.
The Wachowskis show their confidence most in their masterful control of the film, even outside their writing of Corky and Violet. Bound comes across as exactly the vision Lana and Lilly aimed to make, and their passion for filmmaking shows in every frame. Their ability to work within a $6 million budget without compromising their vision shows what kind of directors they are. They showed studios they can work within cramped budgets and sets while still delivering a film that is groundbreaking in its narrative and its efficiency. A lesson even seasoned directors struggle with: they took limited filming space and created spatial design that reflects Corky and Violet’s relationship, with claustrophobic camera angles and numerous tracking shots. Thankfully, the Wachowskis kept control of their film and went on to direct The Matrix, where they became household names.
In a sea of impressive directorial debuts, such as David Lynch’s Eraserhead or, a personal favorite, Sofia Coppola’s The Virgin Suicides, Bound cuts to the central conflict of Lana and Lilly’s work. In their creative endeavors together, their films establish a narrative about people escaping the systems that oppress and control them. In Bound, Violet fights to break free of a life created by her abusive partner, Caesar, and find true happiness. At no point does the film suggest that either Wachowski is figuring out their cinematic voice; they already know it, and they are ready to share it with the world. Much like Lynch and Coppola, the Wachowskis deliver a debut that gives audiences a crystal-clear view of what to expect from their future work.
Bound truly wouldn’t be Bound without the performances from Tilly and Gershon. Their chemistry is incredible and makes the film that much more special. The care around both of them starts with the script and flows right off it. Gershon plays Corky as cool as humanly possible, communicating with actions and expressions rather than words. When she listens to her lover, she’s quiet and attentive, but her guard slowly comes down around Violet. She breaks the mold of masc women always needing to be tough. At the same time, Tilley plays Violet as a glamorous seductress in need of saving who uses her beauty and intelligence to break free from this cycle of abuse she is in. Both women subvert audience expectations with the roles they play, allowing the other to shine, because, much like their characters, they wouldn’t get their desired outcome without the other person.
It has been 30 years since Bound hit theaters, and time has only made the film more impactful. It’s the kind of film that takes directors years to craft, but the Wachowskis did it on their first outing together. An LGBTQ staple that doesn’t make a queer character a villain, a side character, or treat them like a taboo. It gives a lesbian couple the spotlight to find freedom within their true selves in a genre that heterosexual couples have oversaturated. Lana and Lilly make history with each film, and Bound was just the start.
