When collaborator Donna Kerness backs out of his project irl, George Kuchar creates an alternative spectacle to that of her naked body by staging his own sense of alienation. The sudden shift from the erotic to the abject makes it all the more difficult for the audience to know whether to laugh or cry. Staring up from his Ma's meatloaf, he implores us: "there's a lotta things in life worth living for, isn't there?"
