The ubiquity of porn, so accessible on DVD and websites, has had the curious effect of making its conventions all too familiar. Liberating screen sex from aesthetic and narrative tropes—not to mention taboo restrictions—Destricted is a spicy compilation of shorts by celebrated visual artists who are reinvigorating erotic film.
In Matthew Barney’s audacious “Hoist,” a man is suspended precariously under a 50-ton truck. As he makes athletic love with the greased-up, rotating driveshaft, human and machine become one system. In his signature sytle, Richard Prince excavates a gold-standard ‘70s porn flick, complete with big tits, big cock, and cumshot, disintegrating the video to unleash alternative sensual and sexual narratives in “House Call.” In “Balkan Erotic Epic,” Marina Abramović captures sumptuous scenes from Balkan folklore, where the power of phalluses, breasts, and vaginas is enlisted to manipulate the forces of nature. Gaspar Noé pushes boundaries of eroticism in his unabashedly sexual cinematic journey, “We Fuck Alone.” In “Onan: Death Valley,” a man masturbates against a vast desert landscape until the ebb and flow of self-pleasuring seem as inevitable as the blowing wind. Sync conceives the ultimate “quickie” by condensing hot moments from scores of porn movies into one pounding, kaleidoscopic sex act. Bad-boy Larry Clark plays sexual matchmaker in “Impaled,” when he auditions young men, then allows his chosen buck to select his own porn-star mate for the explicit shoot. The interview sessions, where the camera scrutinizes naked nubile hopefuls, speak volumes about how porn has shaped a generation’s attitudes about sex and the body. Like the rest of Destricted, “Impaled” will not only expand your mind; it may get you all hot and bothered, too. –Sundance Film Festival
Marina Abramović (Serbian Cyrillic: Марина Абрамовић; born 30 November 1946, in Belgrade, PR Serbia, FPR Yugoslavia) is a New York-based Serbian/ Montenegrin performance artist who began her career in the early 1970s. Although born in Serbia, Abramović holds a Montenegrin passport. Active for over three decades, she has recently begun to describe herself as the “grandmother of performance art".
Abramović’s work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind. —Wikipedia
Matthew Barney was born in San Francisco in 1967; at age six, he moved to Idaho with his family. After his parents divorced, Barney continued to live with his father in Idaho, playing football on his high school team, and visiting his mother in New York City, where he was introduced to art and museums. This intermingling of sports and art informs his work as a sculptor and filmmaker. After graduating from Yale in 1991, Barney entered the art world to almost instant controversy and success. He is best known as the producer and creator of the “CREMASTER” films, a series of five visually extravagant works created out of sequence (“CREMASTER 4” began the cycle, followed by “CREMASTER 1,” etc.). The films generally feature Barney in myriad roles, including characters as diverse as a satyr, a magician, a ram, Harry Houdini, and even the infamous murderer Gary Gilmore. The title of the films refers to the muscle that raises and lowers the male reproductive system according to temperature… read more
Lawrence Donald “Larry” Clark (born January 19, 1943) is an American film director, photographer, writer and film producer who is best known for the movie Kids and his photography book Tulsa. His most common subject is youth who casually engage in illegal drug use, underage sex and violence, and who are part of a subculture (such as surfing, punk rock or skateboarding).
Clark was born in Tulsa, Oklahoma. He learned photography at an early age. His mother was an itinerant baby photographer, and Clark himself was enlisted in the family business from the age of 13. In his mid-teens, Clark began injecting amphetamines with his friends in 1959. Always armed with a camera, from 1963 to 1971 Clark produced pictures of his drug-shooting coterie that have been described by critics as “exposing the reality of American suburban life at the fringe and for shattering long-held mythical conventions that drugs and violence were an experience solely indicative of the urban… read more
Baldheaded Franco-Argentine filmmaker Gaspar Noé has made some seriously disturbing films during his relatively short career. He has also won several critical awards and festival acclaim for each of his works. Noé made his first film in 1991 with the short Carne, an introduction to the character of the Butcher, played by Philippe Nahon. An angry man, the Butcher seeks revenge on whoever hurt his disabled daughter. After working as an actor, cinematographer, writer, and director on some other projects, Noé made his first feature film, I Stand Alone, continuing the story of the Butcher after he does time in jail and abandons his daughter. In 2002 he received major public notice and outrage with the controversial Irréversible, mostly due to the much-publicized eight-minute rape scene. Starring real-life married couple Monica Bellucci and Vincent Cassel, the film is a brutal look at male violence shown in reverse chronological order. —allmovie guide
Sam Taylor-Wood (born March 4, 1967) is an English filmmaker, photographer and conceptual artist. Her directorial feature film debut was the 2009 Nowhere Boy, a film based on the childhood experiences of The Beatles songwriter and singer John Lennon.
Taylor-Wood began exhibiting fine art photography of young fruitful men in the early-1990s. One collaboration with Henry Bond, titled 26 October 1993, featured Bond and Taylor-Wood pastiching the roles of Yoko Ono and John Lennon in the manner of the photo-portrait made—by photographer Annie Leibovitz—a few hours before Lennon was assassinated, in 1980. In 1994, she exhibited a multi-screen video work titled Killing Time, in which four people mimed to an opera score. From that point multi-screen video works became the main focus of Taylor-Wood’s work. Beginning with the video works Travesty of a Mockery and Pent-Up in 1996. Taylor-Wood was nominated for the annual Turner Prize in 1997, but… read more
Tedious, unpleasant, uninvolving, bland, and aggravating. I think the words "pretentious" and "boring" are overused and misused to the extent that they have become practically meaningless. However, I'd say this film is something of a rarity and deserves to be tagged with both terms. Larry Clark's contribution is the only noteworthy one.
"What better way to spend Election Night than watching classic campaign ads and a political documentary?" asks Mike Everleth, pointing us