This ultra-bizarre, ultra-low-budget campy porno flick (written by underground maverick George Kuchar) is most definitely not for all tastes. While it starts out as an atmospheric gothic horror tale, it quickly turns into a raunchy, graphic, blackly comedic sex-fest, as polymorphically perverse Gertie (Eaton) gets off (with the help of a cucumber) by watching her houseguests explore a room full of naughty toys. Sexual encounters then continue in full force, as various partners of both genders hook up; there’s even an infamous flashback to a bestial love affair. If none of this sounds appealing (chances are it won’t to most viewers), you’ll find that Eaton, with her hopelessly skewed eyebrows, is by far the best aspect of the film — her performance is so sincerely melodramatic that one almost begins to root for her, despite her clear mental imbalance. –filmfanatic.org
Curt McDowell worked in San Francisco from the late 1960s until his death in 1987–a period that witnessed the Summer of Love, gay liberation, and the onset of AIDS, to which he succumbed at the age of forty-two. The author of numerous films that recast the American dream of plenty in pansexual terms, McDowell, like so many artists of his generation, indulged in the era’s carnal abundance, and his appetites and experiences are reflected in the work, which alternates between the revealing and the puerile. His short films, such as Weiners and Buns Musical (1972) and Loads (1980), celebrate sex as well as genre riffing and autobiographical narratives (McDowell’s insatiable desire for seducing straight men is explicitly documented in his 16-mm works), and bear the influences of Jack Smith’s lush, DIY camp aesthetic, Rainer Werner Fassbinder’s explosive melodrama, and Nan Goldin’s glimpses of countercultural bohemia. –Glen Helfand, ArtForum
“Curt was curt… read more
Also: SXSW completes its lineup. Capitalism on the high seas. Gondry’s next film is selling nicely. And more.
Also: See It Big! in New York, Clouzot at Harvard, Mapplethorpe in Paris and Jeunet’s next project.
For over half a century, George Kuchar made “brilliant, exotic, absurd” films.
About ten years ago, when I was the editor of the Home Guide section of Premiere magazine, I was looking into expanding the scope of that back