While many adaptations of graphic novels and comic books often rely on colorful animation, zany characters, and strong stylistic choices to bring the essence of the source material to life, director Sook-Yin Lee opts for a more reserved, laid-back approach to the various sexual encounters depicted in Chester Brown’s original graphic novel — here, aptly titled Paying for It.

Brown, who wrote the graphic novel about his own experience losing his virginity and “being a john” in the 1990s, is portrayed by Dan Beirne. After Brown’s girlfriend, Sonny (Emily Lê), tells him that she’s no longer in love with him, the comic book artist/writer pursues a series of encounters with sex workers around town. Along the way, Brown redefines his boundaries and finds what love truly means to him rather than always catering to somebody else’s needs. While Chester’s friends, whom we return to throughout the film, may look down on him for paying for sex, Brown sees the value in these encounters — and in truly getting to know the many people he now shares a bed with.

Set in the thriving heart of Toronto (where better place for this to premiere than TIFF?), Paying for It is a lively, interesting, and often humorous look at open relationships and the monetary value society places on sex. And right after the resounding cultural sensation that was Luca Guadagnino’s Challengers, there’s never been a more fitting time to explore the varying dynamics at play in blurry relationships. Lee’s take on Brown’s story does stumble right out of the gate, not establishing Sonny and Chester’s relationship sufficiently and failing to maintain that throughline even as they explore other people. However, the moments she chooses to include feel intentional and mostly work to close the gaps.

The more interesting scenes here (and the ones that make the story tick) follow Chester as he sleeps with different women. In comparison, Sonny feels more underdeveloped. Since the story’s core evolves into a commentary of self-discovery and actualization, though, it’s more forgivable since this is more so Chester’s journey.

Of course, there’s some situational comedy that comes with Chester’s innate awkwardness in not knowing how to navigate sex and working through his own assumptions about sex workers. But as Chester becomes more in tune with his feelings and finds unexpected connections where it counts, Paying for It shines as an indie comedy.

Beirne and Lê are both quite strong here, allowing the viewer to emotionally understand their characters’ connection despite a lackluster script. Both Beirne and Lê play characters that could’ve so easily been stereotyped. We’ve seen the nerdy 30-year-old virgin before, and we’ve also seen the stylish, quirky goth comic book artist before. But Beirne and Lê play to the script’s strengths: finding what makes these characters tick in their new environments.

Few directors out there seem interested in exploring the lives of sex workers with much empathy (minus Sean Baker, of course), so seeing Lee tackle this topic and twist the harmful tropes we’ve come to know about sex workers and men like Chester who have a difficult time finding love is refreshing. Even when the film takes some expected directions and must manage its initial shortcomings, it’s hard not to fall in love with the main characters and their ultimate development. Lee is certainly a director to look out for, and with her background as a broadcaster, musician, actor, and director, what can’t she do given the right source material? 

Review Courtesy of Matt Minton

Feature Image Courtesy of payinforitfilm.com