However, the film remains problematic. Christian’s helicopter landing on her rooftop, his constant surveillance of her phone, and his physical intimidation during arguments are framed as romantic gestures rather than coercive control. The visual language—soft lighting, slow motion, lingering close-ups on Dakota Johnson’s body—often objectifies Ana even as the dialogue asserts her agency. Thus, the film exists in a contradictory space: it attempts to empower Ana while still catering to a cinematic male gaze.
ANA stands by the window, nursing a glass of white wine. She wears a simple, silk slip dress. She looks out at the city, but her mind is elsewhere. fifty shades movie 2
ANA > If I take this... you have to promise me one thing. CHRISTIAN > Anything. ANA > No more secrets. No NDA. No hiding. However, the film remains problematic