Synopsis: Two brothers rob a bank and take a young girl hostage. They find out that the girl is a nudist, so they force her to take them to a nudist colony so they can hide out.
“http://www.nitroflare.com/view/8AAF9C665CC5491/fico-hoits.avi
“http://keep2share.cc/file/5220dbf38f4b0/fico-hoits.avi
698Mb
no pass
This film is a series of letters, photos and video cassettes which women often send in to certain newspapers. By visualizing their story-telling (the name given by the psychologists to their fantasies) the film portrays the confessions, the secret longings, the adventures, recollections, dreams, desires and fantasies of these women. It is an open secret that most women dream of forbidden affairs, secret lovers and hasty encounters but when it comes down to it they lack the courage to pursue their dreams.
http://www.nitroflare.com/view/144980D5D009F44/Fermo.Posta.Tinto.Brass.ITA.DVDRip.XViD.PARENTE.1995.avi
http://www.nitroflare.com/view/92EE4E30907FEA9/subs.rar
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“http://keep2share.cc/file/5220dcee1b1e1/Tinto_Brass_-_Fermo_posta.Spa_-_1995.srt
no pass
Quote:
Erotic Man (Det Erotiske Menneske) (Director: Jørgen Leth): This somewhat experimental and extremely personal film raised so many issues for me to think about that I’m not sure my rating will align much with that of other reviewers. I don’t mind at all. Leth, who has been making films for more than 40 years, has made perhaps his most honest and personal one yet. An examination of the erotic, it’s more of a personal memoir, a record of an attempt to recreate (or create) memories or fantasies (romantic/sexual) from years of experiences all over the world. Leth seems to have an affinity for the exotic, having traveled extensively in Africa, Latin America and Southeast Asia. Since 1991, he’s lived in Haiti, and this film seems to have emerged from a long-term love affair he experienced there. In fact, this film and his memoir The Imperfect Man have caused controversy in his native Denmark because in them he details his relationship with Dorothie, the 17-year-old daughter of his cook.It’s very clear from the film that his five years with Dorothie were among the happiest in his life, and his attempts to describe the erotic can be seen as an extended love letter to her. At the beginning of the film, we are simply presented with several sequences of beautiful women, often nude, reciting poetry. We move from Haiti to Senegal to Brazil, from 1999 to 2002 to 2008. Are these love affairs simply captured documentary-style? Then Leth pulls back the curtain. We see him in Brazil at a casting session. He’s looking for beautiful women for his film. He tells them he’s recreating memories of past love affairs, and each woman is to lounge naked on a hotel bed, reciting a poem (often his own — Leth was an accomplished poet before he ever began making films) and simulating post-coital bliss. It’s a constructed dream, and the women are paid to portray memories and feelings they’ve never had.
It’s undoubtedly beautiful to look at, but it’s not erotic because these are not my memories or my fantasies. But Leth raises all kinds of issues with his honest desire to pursue his vision of eroticism. He’s a savvy filmmaker and a man of vast experience of the world. He must know that the places he’s chosen to travel to document eroticism (Eastern Europe, Thailand and the Philippines in addition to the countries mentioned above) have been places where sex trafficking takes place. Places where women sell themselves (or are sold) to men as canvasses for whatever fantasies they want to project. Though Leth is clear to the women that he’s not making pornography, the dynamic is the same. He’s a rich white Westerner who is offering money to women to do sexual things. It raises the question as to whether all male concepts of the erotic involve the same thing. We are aroused by looking, by seeing, by capturing and by keeping what isn’t necessarily ours. We often pay to pretend it is. There is a whole scale of activities, from staring at beautiful women on the subway train, to staring at them naked in magazines or strip clubs, to paying them for more and more simulation. This kind of eroticism is constructed, it’s not real. The interesting thing about Leth’s project is that the act of making a film is also a way of constructing a reality that is not real. Eroticism, like cinema, is a constructed reality. He is capturing, trying to hold onto, something that is ethereal (memory) and untameable (female desire/love). It’s a film that could only be made by a man closer to the end of his life than the beginning.
In Leth’s personal life story, the erotic often equates with the exotic. He loves women unlike those in his native Denmark. He likes dark skin and hair, warm climates and sensual music. In these places, women often seem more submissive. They have no problem playing their parts in his movie. Like actors, they don’t mind that he is giving them the lines they are to read. I suspect that many women in the “developed” world will see this film and think Leth is just an unreconstructed sexist. I’m not sure I’d agree, but I do hope that his honesty and vulnerability might lead to more open discussion of the different expressions of eroticism. The film is a bit like a mirror. What you think about it will very much depend on what you see in the mirror.
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Language:Danish, French, Portuguese, English
Subtitles:English
X Femmes (English: X Women) is a French television series of short films shown on Canal+ in 2008–2009. They were shot by female directors with the goal of producing erotica and soft-core pornography from a female point of view.
Episodes
Season 1 – Original air date 25 October 2008
1. Le bijou indiscret (The jewel indiscreet).
Director: Arielle Dombasle.
Stars: Arielle Dombasle, Jérémie Elkaïm and Paz de la Huerta
2. Se faire prendre au jeu (Getting to the game).
Director: Lola Doillon.
Stars: Laureen Langendorff and Dominique Viger
3. Enculées (Fucked).
Director: Laetitia Masson.
Stars: Hélène Fillières, Valentine Catzéflis and Camille de Sablet
4. Peep show heros (Peep show heroes).
Director: Helena Noguerra.
Stars: Axelle Parker, William and Myke Glory
5. À ses pieds (At her feet).
Director: Mélanie Laurent.
Stars: Fanny Krish, Marc Ruchmann and Déborah Révy
6. Vous désirez? (You want?).
Director: Caroline Loeb.
Stars: Alexandra, Béa and Pierre Blanche
Season 2 – Original air date 27 June 2009
1. Samedi soir (Saturday night).
Director: Zoe Cassavetes.
Stars: Alexandre Marouani and Laëtizia Venezia Tarnowska
2. Le beau sexe (The fairer sex).
Director: Tonie Marshall.
Stars: Miko Angelo, Philippe Elkoubi and Marie Pape
3. Les filles (Girls).
Director: Anna Mouglalis
http://www.nitroflare.com/view/8583DF2CBD6E3B0/X_Femmes.rar
http://keep2s.cc/file/bfd2a4cb602ca/X_Femmes.rar
Language(s):French
Subtitles:None
Beverly (Heather Hall) is about to learn a lot about herself, as she explores a side of herself she never knew existed. The way she behaves makes most people think she hates men, which would make sense, as she has been in numerous bad relationships with bad men. Her roommate Joan (Judy Young) has no such hatred, in fact she loves men and loves to have sex as often as possible. Her boyfriend Rook (John Aristedes) is not a good man, more like a street thug, but he satisfies her needs, so she keeps him around. One night, Rook decides to climb into Beverly’s bed, which sets off a sexual chain reaction. After that encounter, Bev realizes she is a nymphomaniac and as a result, she needs sex all the time. Joan catches the two in the act and beats Bev to a pulp, then tosses her into the street. She soon meets a new man who understands her condition, but when her path crosses once more with her old friends, will her new lifestyle be put in jeopardy?
http://www.nitroflare.com/view/E91911B0F000818/Joe_Sarno_-_Flesh_and_lace.avi
http://www.nitroflare.com/view/E41070B4FAC0C1C/Flesh.and.LaceTrailers.rar
http://keep2s.cc/file/41ad1e5ac56b3/Joe_Sarno_-_Flesh_and_lace.avi
http://keep2share.cc/file/5220d9c299dc4/Flesh.and.LaceTrailers.rar
no pass
Quote:
The Weight, portrays the life of Jung(Cho Jae-Huyn) who grew up as an orphan and was adopted into a family of only a mother and a son. Jung is now a hunchback man due to scoliosis and is a live-in mortician taking care of corpses in the most eerie manner. His brother wants to become a woman and their mother, who now hates both of her sons, will not accept her real son’s female identity. Jung lives a secluded life trying to deal with his family’s problems along with his own.
http://www.nitroflare.com/view/B424F3F189619C6/The.Weight.2012-DVDRip-AC3-x264.AVC-Netinbra.mkv
http://keep2s.cc/file/5fcd09a3c527d/The.Weight.2012-DVDRip-AC3-x264.AVC-Netinbra.mkv
Language(s):Korean
Subtitles:English (Optional)
A documentary shot at the end of pornographer Joe Sarnos’s life, which reveals his attempt to make one last film, as well as his relationship with his wife, Peggy.
http://www.nitroflare.com/view/B88301DB197F1B7/The_Sarnos_a_life_in_dirty_movies.mkv
http://keep2s.cc/file/4b4f335c1e169/The_Sarnos_a_life_in_dirty_movies.mkv
Language(s):English
Subtitles:none
Plot summary:
Leo (Angel Jové), a psycopath and a silent, obsessed and deeply disturbed man, concieves a progressive fascination for Bilbao
(Isabel Pisano), a striptease ballerina, who to reach the end of the month, she has to be a prostitute. Leo studies her movements and ends up kidnapping her, as if she was his object to add to his erotic collection.
http://www.nitroflare.com/view/86FD590EF0E4951/Bilbao.Vertigen.DVDRip.avi
“http://keep2share.cc/file/522080a04afe5/Bilbao.Vertigen.DVDRip.avi
Eng srt:
http://www.opensubtitles.org/es/subtitles/4695060/bilbao-en
no pass
Plot
Bathhouse prostitute Masako and her street-whore friend Jun are pawn for their Yakuza Pimps. These girls have lost control over their own existence, passed from one client to the next…
http://www.nitroflare.com/view/8681A0297E49776/Mesunekotachi_no_yoru.avi
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“http://keep2share.cc/file/522082b6e38eb/Mesunekotachi%20no%20yoru.srt
Language:Japanese
Subtitles:English
Synopsis
Anna is not so very young any more, but still a voluptuous woman and full of desire. Unlike her husband, who prefers to watch television instead of making love to his wife. Diets and aerobics fail to revive his sexual interest, and Anna turns to a fortune-teller for help. Unfortunately, the love potions also have dissatisfying side-effects and surprising results. Finally, a proper solution is found in some magic sweets: each sweet will make Anna seven years younger. Which might be rather tricky for a compulsive eater …
*
In Caramella (the Italian title for Sweeties) Anna’s physical decline is irreversible, but she still is a voluptuous woman in the prime of life. And she will do anything to rekindle her husband’s waning desire. When diets and aerobics fail to do the trick, she turns to a fortune teller for help. One love potion is tried, and then another – each with results that backfire. The solution is finally found in a bag of sweets: each magic sweet will make her seven years younger. But Anna is a compulsive eater, and sweets have always been her downfall. She eats the whole bag…
Stefania Sandrelli, the sexiest leading lady of Italian cinema of the 1960s (Divorce, Italian Style), whose acting talent was furthered by Bernardo Bertolucci in the 1970s (The Conformist), spoofs her own image of the past with wit and finesse in this delightful comedy directed by one of Italy’s bright new directing talents.
Language:1st audio track: English, 2nd audio track: German
no pass
Quote:
Long considered a failure since its very brief theatrical release in the late summer of 1980, La Nuit des Traquées has slowly but surely built a small but dedicated group of followers who find it to be among Jean Rollin’s almost great films. Containing perhaps the finest performance Brigitte Lahaie has ever given for the screen, La Nuit des Traquées, or The Night of the Hunted as it is more commonly known, is one of the key if often overlooked films of Rollin’s career. The fact that it is indeed a very flawed work that could have been much more, had budgetary and time constraints not worked against it, makes its pleasures all the more resonate and powerful.
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Language:French
Subtitles:English (idx/sub)
the first short film collection of its kind, bringing together sex and art in a series of short films created by some of the world’s most visual and provocative artists and directors
Balkan Erotic Epic
Marina Abramović, 2005, 13 min
Performance art legend Marina Abramović delves into Balkan folklore to create an instructional series of mis en scènes that explore the crude, magical and mysterious rites of ethnic fertility and virility.
Hoist
Matthew Barney, 2004, 14 min 36 sec
American fabulist Matthew Barney stages the erotics of sexual encounter as it takes place between ‘green man’ and the lubricated drive shaft of a customised deforestation vehicle destined for the Carnival de Bahia.
Sync
Marco Brambilla, 2005, 2 min
American artist and filmmaker Marco Brambilla ransacks porn-film archives to produce a witty, fast-moving montage of money shots.
Impaled
Larry Clark, 2005, 38 min
Larry Clark, cult anthropologist of American adolescence, directs a sensitive yet frank investigation into how, for the generation growing up in the 1980s, pornography has shaped the way they think about sex and sexual fantasy. The result is a riveting documentary about desire and sexual initiation.
We Fuck Alone
Gaspar Noé, 2006, 23 min
Gaspar Noé, maker of Irreversible, the controversial art-house movie whose brutal depiction of rape that left audiences physically sick, now promises to turn you on with a cinematically erotic journey into masturbatory fantasy.
House Call
Richard Prince, 12 min
American iconographer Richard Prince appropriates a segment video that captures the generic gold standard of 1970s porn – big tits, big cock and cumshot – re-shooting it in the manner of the cowboys, girlfriends and outlaws that first made him famous.
Death Valley
Sam Taylor-Wood, 2004, 7 min 58 sec, music by Matmos and Andrew Hale
British art star Sam Taylor-Wood directs a porn star in a droll elegy to masturbation and the great American outdoors.
Screenshot for Impaled:
Screenshot for Sync:
Screenshot for We Fuck Alone:
http://www.nitroflare.com/view/2F169034FF9DE36/Destricted.rar
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“http://keep2share.cc/file/5221b70414988/DESTRICTED.2006.We_Fuck_Alone.DVDRip.VQ.avi
no pass
Amazon review:
This movie is about a sculptor who loves “making” statues and paintings of young nudes. He becomes obsessed with the daughter (Laura) of a friend, whom he knew a long time ago. He manages to get her mother to take pictures of her for him to use in making a sculpture of her body. Laura develops a crush on him (as did her mother) and after he is blinded, offers to help him finish the statue that he started by posing for him herself. He’s able to finish the clay sculpture by using his hands to feel along her body. They both get caught up in the moment and she becomes a women.
Those who argue about the plot or dialogue have missed the point of a David Hamilton movie. They simply don’t get it. At any rate, there are a few story plots intertwined in this movie if you can pick them out.
And as for adolescent beauty, it is evident to all who have a discerning eye. The preteens and teens in this movie are among the prettiest (face and body) ever to be in a David Hamilton movie (or his books). This movie caused a lot of controversy when it was first released. Dawn Dunlpa (Laura) went on to appear in other movies such as “Forbidden World” where once again her body (total nudity) is on display for all to see.
This movie contains a lot of preteen nudity (front and rear) of girls in the shower and you do get to see quite a bit of a young and beautiful Dawn Dunlap (full nudity).
As with all gatekeeper reviews, which are concerned only with adult themes, nudity and violence – this movie contains preteen nudity and sexual situations. If you’re a David Hamilton or Dawn Dunlap fan, this movie is a must. If you do not appreciate preteen nudity or are unable to view it as artistic, then do not buy this movie.
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no pass
Plot : Canciones de amor en Lolita’s Club (2007) is an erotic thriller, in which sex and brutality are mixed in a story of twin brothers, one a violent police officer the other mentally challenged, both tragically involved with a prostitute in the bordello that gives the film its title.
http://www.nitroflare.com/view/A53C2DEB679AFD6/Canciones_de_amor_en_Lolitas_Club.avi
http://www.nitroflare.com/view/2B46B56BC161936/Canciones_de_amor_en_Lolitas_Club.idx
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“http://keep2share.cc/file/521f675865d31/Canciones_de_amor_en_Lolitas_Club.sub
Spanish audio with English subs
Quote:
Sergej Moya is a German actor, writer and director who had the idea for the movie. The 23-aged filmmaker appreciates erotic films which celebrate emotional relationships and depict explicit sexual actions as part of an interesting and demanding love story. So he created the ambitious project HOTEL DESIRE. In his film he wants to tell the story of a woman who is longing for more in her life than only the daily business. It’s an attempt to explore human aspiration for explicit sexuality and to present it as an intriguing story with erotical feelings and sensual pictures.
It’s said that women think about sex every 60 seconds on average during the day, men every 52 seconds,” he says. “However, I could not find any data on how many seconds, minutes or hours we think about murder and homicide every day. I want to make a film that does justice to sexuality as an expression of human joy of life. A film that confidently borrows from the porn genre, but that is not a porn film.”
Hotel Desire is about a hotel maid in Berlin who did not have sex for several years when she unintentionally breaks into a blind painter’s hotel room.
Though the movie is in German, you really don’t need to understand what they talk about. The movie is full of beautiful shots and of course, it is erotic.
http://www.nitroflare.com/view/4DBBE7104F28354/mb-hotel.avi
“http://keep2share.cc/file/521a7ab6f9a86/mb-hotel.avi
Subs:
http://subscene.com/subtitles/hotel-desire?filmId=95874
no pass
Quote:
A mysterious visitor (Kentucker Audley) spends the night at an apartment belonging to a young engaged couple (Sophia Takal and Lawrence Michael Levine) and their friend (Kate Lyn Sheil.) Over the course of the night and the following day he sleeps with all three roommates and then disappears, leading to conversations about God, life and filmmaking.
Starring: Sophia Takal, Lawrence Michael Levine, Kate Lyn Sheil, Kentucker Audley, Joe Swanberg
http://www.nitroflare.com/view/BE9F7AF9E5E7CCA/The.Zone.2011.DVDRip.x264-HANDJOB.mkv
http://keep2share.cc/file/524b0e3119020/The.Zone.2011.DVDRip.x264-HANDJOB.mkv
no pass
This is an intense, romantic, deeply human, dramatic, realistic and surprising film about the japanese AV industry, and about the feelings of a very young couple.
[Source: Japan times]
“You oughta be in show business, baby!” That’s been a pickup line of “producers” since the days of D.W. Griffith, though in Japan today the pick-up artists are likely to be young men with stylishly coiffed, tea-colored hair, tanned pretty-boy faces and dressed in dark designer mufti. They prowl places like Shibuya, Harajuku and Ikebukuro, hitting on one woman after another with a coaxing, teasing, wheedling urgency.
The men are usually selling, not themselves, but an arubaito in the AV industry, with “AV” standing for “audiovisual,” but meaning porn. Called “scout men,” they are the subject of “Pain,” an excellent new film by Masato Ishioka, a veteran porn director himself, who spent two years researching his subjects. Though weathering serial rejections that would wither the average male ego to the size of a quark, the scout men at first shied away from Ishioka. “They didn’t take me seriously,” he told me after a screening. “It took a long time to win their confidence.”
The time was well-spent — “Pain” may not have the most descriptive of titles (it was once called, more appropriately, “Scout Man”), but it is clear-eyed about its subjects and their milieu. Most films about Japan’s enormous sex industry either romanticize or sensationalize it. “Pain” opts instead for a documentary approach — many of the actors are AV professionals and much of the dialogue sounds improvised — but is more interested in moral dilemmas than social issues, while following a carefully plotted dramatic arc.
The sex trade, we come to see, can be as dulling and deadening as any other that sells souls for cash. Its workers are less victims and victimizers than human beings who have made certain choices and find themselves changed as a result. They become sharper in some ways, harder in others: They can see, but no longer feel, lust but no longer love.
The film’s central characters are a young couple who have escaped from a suburban nowhere — and their parents’ opposition to their marriage — to the big city. Mari (Miku Matsumoto), 17, and Atsushi (Hideo Nakaizumi), 20, have no money, no contacts, no prospects. Mari, who has the face of a cherub and limps, industriously calls potential employers — and comes up empty-handed. Then she meets Kana (Yuka Fujimoto), a tall, stolid girl who is hawking party tickets to passersby. Kana initiates Mari into the game — one of many, it turn out — and she earns her first yen since coming to Tokyo.
Cruising the streets, Atsushi encounters Miki (Yuri Komuro), an off-duty AV actress who takes him to a love hotel — perhaps to kill time till her next job. Through her, he is introduced to the world of scout men, one of whom, the ruggedly handsome, perpetually hustling Yoshiya (Akihito Yoshie), takes him under his wing. Yoshiya’s boss is Sugishita (Shiro Shimomoto), who has a smooth line of patter and an insatiable appetite for fresh young meat. He takes a liking to Atsushi, seeing this innocent-looking but lynx-eyed kid as a natural. He is a good judge of character.
The story is about the making of two professionals — one willing, one not. Atsushi takes to his new job like a duck to dirty water. The trick, his mentors tell him, is not to seduce his marks, but put a business proposition to them as simply, and as attractively, as possible.
http://www.nitroflare.com/view/F1F81B0F1AD4F24/Scoutman_%28Masato_Ishioka%2C_2000%29.avi
http://www.nitroflare.com/view/9351A0BAD33EAF8/Scoutman_%28Masato_Ishioka%2C_2000%29.idx
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http://keep2s.cc/file/521f69853e588/Scoutman_%28Masato_Ishioka%2C_2000%29.sub
Language:Japanese
Subtitles:English, Chinese (.sub/.idx)
Synopsis
oneliner
A huge, run-down apartment in Berlin Mitte. Two women and a man, rehearsals for a movie about love and sex, that will never be shot. Acting and reality mingle into a dangerous melange. Berlin is the shelter, love is impossible, flesh is the law.
short
Director Nina Bader wants to shoot a film about love and sex and invites her actor-friends Hans and Marie for screen tests for a couple of days. For Nina love is not necessarily a matter of emotion – she is rather looking for an authentic depiction of sex. The intimate collaboration turns into experiments with film, love and bodies and finally has an impact on the private relationships between the three of them. It seems that the boundaries between acting and reality begin to disappear.
long
A dilapidated, practically empty apartment in the Berlin district of ‘Mitte’. This is where Nina and two young actors named Hans and Marie have come together to leave behind the winter cold for a few days and do some screen tests for a film. Nina is a searcher; she wants her film to make feelings visible and intends to portray love by showing real sex. But the more blurred the borders between fiction and reality become, the less Nina seems inclined to make the film at all. Hans, who knows Nina from a brief encounter a long time ago, senses that she is searching for something else. Nonetheless, he and Marie both agree to go along with the play-acting. So far, each is convinced that they are pulling the strings. But Nina’s strategies of seduction weave an ever-tightening web around her protagonists. Nina’s credo that they should not play themselves or anyone else soon becomes a trap for Hans and Marie. No wonder that it becomes almost impossible to decipher where the acting ends and reality begins. The further Nina sets off down a path to an unknown destination, the more the actors shield themselves from each other and keep their feelings to themselves. Their longing for the outside world is a palpable force, but each attempt to open up to each other ends in an emotional blow below the belt. Without a script, communication becomes balancing act; coolness and distance would seem to be the only adequate means of protection. In this world, failure can only lead to a bittersweet happy ending.
http://www.nitroflare.com/view/2B1CE8384AFA42E/5rFF-bedways.avi
http://www.nitroflare.com/view/E29E0521C876412/5rFF-bedways.eng.srt
http://keep2share.cc/file/5259a4893d854/5rFF-bedways.avi
http://keep2share.cc/file/5259a19a2dc04/5rFF-bedways.eng.srt
Language(s):German
Subtitles:English .srt
Description:
The phrase “Graphic Sexual Horror” actually derives from the all-caps warning that would greet visitors at the threshold to the “Insex.Com” Web site during its heyday roughly a decade ago. But one can’t be blamed for thinking that the title pairs well with the somewhat sensationalistic marketing. The fact that this is a documentary is never concealed, but that doesn’t really diminish the lurid appeal – in fact, the promise that everything is real only adds to the titillation.
Of course that’s the same lure of realism that attracted some 35,000 subscribers to Brent “PD” Scott’s unique BDSM online community and interactive gallery. Shooting on stark sets sporting a rundown, industrial look and featuring a grim, deadpan aesthetic that gave some the impression that PD “really had captured the girls,” the Insex team specialized in creative live feed sessions that allowed customers to provide real-time input and feedback. The young models would frequently plead for mercy from all sorts of gnarly acts of sadism, but per S/M protocol there was always a “safe word” in reserve that they could invoke if things became too unbearable.
One might expect a doc covering such subject matter to be fairly predictable in its exploitational leanings. Yet by showing the motivations of each model to test her own psychological/physical limits–and PD’s tendency to manipulate such motivating factors – Graphic Sexual Horror begins to address all sorts of intriguing and totally unexpected questions. Is there such a thing as self-exploitation? And what’s to distinguish simple exhibitionism, and those who would leverage it for profit, from a legitimate, artistic, and maybe spiritual exploration of the body’s limits?
Fashioning a smart, well-edited chronicle of PD’s career, directors Barbara Bell and Anna Lorentzon consistently emphasize the consensual nature of Insex’s activities. Sometimes this is done via backstage footage of the shoots, sometimes through video waivers in which the models agree to a range of torments with the same air of cheerful professionalism a job interviewee might muster in consenting to make coffee once in a while. This same stance of calm detachment suffuses the doc as whole, and, again, is well at odds it with the DVD promo copy that promises “the terrifying dark history” of Insex. If you’re looking for an ominous soundtrack or other devices to pump up drama or salaciousness, you’ll be disappointed.
That said, parts of the film are a bit hard to watch, but those more familiar with the BDSM subculture might find Graphic Sexual Horror, if not tame, then at least closer to “standard” in terms of imagery. The onscreen blood and raised welts that appear in the context of breast torture, caning, and other punishments are certainly not for the squeamish, but the filmmakers are careful to position the audience as a clinical observer, not a “fan.” On an emotional level, the creepiest thing in the film is the subtle transformation of PD/Brent himself. He starts as a would-be iconoclast and niche aesthete thumbing his nose at mainstream academia and pornography… and ends up a morally-rudderless impresario wielding power over his models for personal pleasure. But maybe the most frightening thing of all is how the government shut down Insex by effectively applying pressure to banks under the guise of Patriot Act security measures.
In any case, it’s clear that this kind of cautionary tale can be applied to a range of media-making industries and personalities, and it’s these deeper themes of the film that really impress. Indeed, the entire subject/object, audience/participant dynamic is handled at a very high level without becoming too dryly intellectual. For example, the models know that they can use the safe word at any time, but they also don’t want to be seen as “wimping out” in front of a live viewership that also happens to be their fanbase. On the other hand, the presence of that being-streamed-to audience is the only thing that ultimately ensures their safety – paying customers as potential criminal witnesses.
To their credit, the filmmakers handle such issues with a light touch, as they do the entire “art vs. pornography” debate. In short, there’s plenty of food for thought here–one can see this title working really well in university-level courses on media, alt-culture, and gender/sexual politics – but Bell and Lorentzon don’t try to cram a message or ponderous “insights” down the audience’s throat. A tight focus is maintained on the actual models and Insex crew speaking honestly about their experiences, while completely absent are the usual “expert” talking heads holding forth on the meaning of those experiences.
By the same token, though, the insider perspective (both directors have worked either with or for PD) and narrow focus on firsthand testimony yields a vague sense of opportunities missed. I’m not contending that any doc would benefit from an injection of high-powered commentators, but in this case a couple of engaging outside voices providing occasional cultural context would have been welcome. It’s interesting, for example, that the height of Insex’s popularity overlaps with the rise of bondage and fetishistic torture in U.S. horror films – just a coincidence? And don’t forget that this was also the age of the caught-on-camera sexual humiliations at Abu Ghraib and U.S. debate over the “soft” tortures of Guantanamo. Again, maybe these specific historical and political items aren’t that relevant to the events and ideas presented in GSH, but the fact remains that while watching the film you’d never know that any of its compelling themes might intersect with the wider world. Which is too bad, because while this somewhat insular approach reflects the closed, marginalized community that is its subject matter, this sharp and thought-provoking doc deserves to reach an audience far wider than BDSM aficionados and those with a passing curiosity in them.
http://www.nitroflare.com/view/54D1D437E418D2B/lap-gsexh.avi
http://keep2share.cc/file/520cae14d0934/lap-gsexh.avi
no pass
Synopsis
Brigitte Lahaie runs a whorehouse that is raided by the cops again. The raid interrupts hooker Marilyn Jess’s session with a transvestite politician. When he is led away she returns to her magazine with a perfect bored pout on her face. The policeman in charge suggests, ironically, that Brigitte runs a school. So she opens a school for sex for young ladies, teaching the lessons herself and employing Alban Ceray and Dominique Aveline as tutors/demonstrators. Four girls enroll. She sells tickets for the graduation cermeony where the students demonstrate their newly acquired skills in a series of hard core mini-plays on stage. Brigitte performs too, with the winner of a raffle among the audience. Then the establishment is raided yet again.
http://www.nitroflare.com/view/E777848A9ADB303/BRIGITTE_LAHAIE_-_LES_PETITES_ECOLIERES.avi
http://keep2share.cc/file/522b32dba7413/BRIGITTE_LAHAIE_-_LES_PETITES_ECOLIERES.avi
no pass
