The relationship between text and audience has long been a central focus for literature and art critics. Realism, modernism, and postmodernism are distinguished primarily by the different forms of engagement that they demand from the audience. Postmodernist works are particularly known for their self-reflexive presentation. In this paper, I introduce various metatheatrical and metafictional aspects of Martin McDonagh's Seven Psychopaths in order to bring together metatext and masochism as essentially related concepts. I argue that the film's metacinematic self-reflexivity shares strong affinities with the inherent theatricality of masochistic behavior. I further examine how the relationship between the filmmaker and the spectator parallels that between the masochist and the masochist's partner, a fluid, interchangeable connection. Accordingly, I propose the term masotext to denote the essential interconnection between masochism and metatext.