Destricted

I came across this compilation due 2 directors that I knew and have in my collection. Larry Clark, controversial due using kids picked up from the street and let them do things normal kids won't do or are forbidden to do. His most famous flick is Kids (1995° made in the grunge heydays and Ken Park (2002) were a teenager goes down beneath the mother of his friend to give her some pleasures. A lot of viewers were shocked and the film was never released in the US.

The other director is Gasper Noé which I knew due made also some controversial flicks like Irréversible (2002) and Enter The Void (2009).

Both directors are always on the edge of explicit forbidden nudity (Clark with 18 year old girls going full frontal and Noé by showing a rape going on for minutes) but here in Destricted they go beyond that together with some other directors.

This compilation is called an art-erotic flick but all i can say is that some were indeed art, one short flick is just a fast editing, cut every second of porn flicks. you just don't see anything but it works. To be honest, it only clocks in over 2 minutes and it's worth seeing for the editing alone. But the rest isn't art at all. Maybe Noé's entry is a bit arty. But it's pure porn for minutes made with a strobo. But it's downhill with the art from here. For example Clarks entry clocks in at 39 minutes and it's just guys talking about porn. One guy is ready to talk with porn actresses and while talking to the girls they take of their clothes talking what they do best. But one of the girls wants to show the 22 year old one what it's all about so she seduces him and asks to undress. From their on the guy doesn't know what is going on, first she gives him a blow job, then he may go inside her and even goes in her brownie, then he may do what he wants to end with another blow job.

The worst entry is the Death Valley part, 9 minutes of jerking off and that's it, is that art?

The other entries except for the Balkan story are pure porn. The Balkan story is a bit funny to hear and see and isn't believable even as it is true what the girl is saying.

Overall pure porn here and there and a bit of art. Kleenex lovers will enjoy some parts but again people who thought like me to see an art compilation as promised will be shocked. Hard core it is.

Gore 0/5 Nudity 5/5 Effects 2/5 Story 0/5 Comedy 0/5

Certainly politically correct, that is a danger sign in any film. Politically correct by focusing mostly on men and porn. This film was almost just like any other porn film. The tiny difference being the "art". Strobe light was the "art" in We f...ck alone (it was way too long. I got the "message" after 5 minutes). The "art" in Death Valley was none what so ever. Just a guy masturbating outdoors. I read on IMDb that the "art" was the fact it was shot in that particular valley. If you use your imagination, you can see art in everything. That is wonderful. Hoist was least like a porn, but 15 minutes of a man rubbing his penis to a machine shaft was OK ("art" and everything) for 5 minutes. In the film Impaled we saw the audition room instead of the "bed". It was amusing to see the young guys expressing their sexual desires. The "art" in Impaled was the bad lighting. I would have chosen the virgin. I went to the film expecting nothing, and I got nothing. A man cannot ask for more on a night at the movies.

If anybody takes a brief look at the filmographies of the persons who directed the segments of "Destrictred", he or she will discover that only a few of them are full-time directors. Marco Brambilla, for example, made a couple of movies in the 1990s, while others had never directed a film. So it comes to no surprise that this is a worst-than-irregular film, and that there is little elaboration and sometimes no originality at all in the string of segments that pretend "to illuminate the points where art meets sexuality". Gaspar Noé and Larry Clark are probably the best known directors of the lot, but it is experimental artist Matthew Barney who in my opinion has made a visually striking erotic film piece (that deserves a much higher rating than the 2 points I have given to the whole film), that has little to do with narcissistic penetrations, oral somersaults and other jaded depictions of sex. His art works have already dealt with the matter on the table, and maybe he knows best. Not a good film if you ask me, and a little on the "waste-of-your-time" side.

I just watched this film at Sundance. Clearly the most challenging portion of this film for the audience was Gasper Noe's use of strobe for his part of the film titled We F--- Alone. A good fifth of the audience cleared out during We F--- because they were bothered by the strobing. During the Q&A following the film when asked why he used the effect Noe replied, "Because it looks better." The style used in We F--- Alone may not appeal to most audiences, but the premise of the film promised shorts by director's giving their impression of the world of porn and We F--- Alone was obviously Gasper Noe's take on the world of porn.

Other engaging portions of the film included Matthew Barney's Hoist, which involved a man having sex with a industrial machine lifted a dozen feet off the ground; Larry Clarks Doc/ Porn, hosting try outs for young men willing to satisfy their dreams of being a porn star; Marco Brambilla's amazing short splicing together frames from his own porn collection. The rest of the other shorts mixed in seemed to lack depth and were rather bland with the exception of Marina Abramovic's vignettes on superstitious Balkan sexual behavior which was very funny.

The movie is all that is promised and is an absorbing take on porn from these artistic talents. This isn't something to watch on a television and should be experienced in the theater environment.

(Due to the 1000 word limit I've trimmed this review by over a third: apologies if some of the notes on films in this seven-film collection are therefore rather brief.)

Andy Warhol once said, "An artist is someone who produces things that people don't need to have but that he - for some reason - thinks it would be a good idea to give them." Destricted doesn't fit into convenient mainstream or even art-house niches, but is more like a Tate Modern exhibit. It would be hard to identify a 'market' for the film, yet it is undoubtedly of some merit.

Destricted is a collection of shorts linked by a common theme. Two of them are directed by acclaimed film directors and the other five are made by heavyweights (two of them women) from the world of contemporary art. All were invited to make films on their views of sex and pornography.

The films in Destricted are mostly iconographic or impersonal fabrications. They distil essential elements into images that remain long after they are viewed. Each uses different artistic techniques, and each is worthy of serious study - although cinema audiences' reactions may also include boredom and amusement.

The most accessible section of the film (and the most linear in format) is Impaled by Larry Clark. Clark examines the effect pornography has on youngsters, but his film goes further, looking at the human dynamics and insecurities of the porn industry and making a porn film. He interviews young male pornstar wannabees, in discussions that are almost like a shrink session, asking them about their sexual experience, preferences and use of pornography. One of them is a virgin. Many have quite understandable hang-ups about their bodies. Asked what sort of things they would like to do, they all express an interest in anal sex. When they undress, nearly all of them are shaved. These last two characteristics, although only evinced by a minority of the general population, are frequently the norm in pornographic films. The female porn actors interviewed are shown as human and genuinely sensual (unlike the way they are portrayed in porn films), although their comfortable attitude to sexuality threatens to bring out more of the guys' insecurities (a theme that was also explored well in Breillat's Sex is Comedy). The girls prove mostly adept at putting the young man at ease however and he selects the oldest of them (40yrs) to be his 'co-star'. Clark avoids the pitfall of making the film funny or sterile or missing the eventual sex scene. The result is a documentary about porn that is also seamlessly pornographic.

The sense of dislocation is felt even more strongly in House Call by Richard Prince (a twelve minute section). Almost an homage to a golden age of porn, Prince takes the naughty doctor-patient fantasy stereotype but reprocesses his film until the image quality is overrun with graininess and bad lighting. To this, he adds jangling, futuristic music so that, even though the images are very explicit, we are reduced to observing them in a distant, dispassionate way.

Hoist, the fifteen minute contribution by artist Matthew Barney, will be no surprise to fans of his acclaimed Cremaster Cycle. Barney develops cryptic, intricate symbols that draw you in to their artistry long before you decipher them, whether in Freudian or any other terms. He is a very visual artist and can be extremely unsettling, perhaps in the way Dali is. At the start of Hoist, we are not sure what we are looking at. It could be a slug. Very slowly it grows, like a painting that slowly changes. Gradually we become aware that it is in reality something very different to what we had expected. It is a human penis. The ultimate, dystopian contrast occurs in an onanistic union with a deforestation machine.

Balkan Erotic Epic by Marina Abramov is thirteen minutes of amusing but quite instructional scenes re-enacting ancient sexual rites for fertility, warding off evil and the like. It also provides some of the most memorable images, such as the bare-breasted woman repeatedly clutching a skull to her chest in the closing credits. One of the scenes - where men are seen from above, lying face down and copulating with the earth itself, is reminiscent of the work of the photographer Spencer Tunick who stages vast public gatherings of naked people around the world.

Sync by Marco Brambilla is the shortest contribution at less than 2 minutes. Brambilla uses sensory overload in the form of clips, each no more than a few frames in length, from typical hard core features. The resulting choreographed collage (set to loud drum music) is like being hit over the head with Dante-esquire force by images that once would have appeared sexual or arousing.

Death Valley by Sam Taylor-Wood is eight minutes long and puts a Marlboro man type character in one of the hottest infertile places in the world where he 'spills his seed'. Taylor-Wood's work often has the human figure isolated on film, as if she views the body in its most revealing moments as a work of art in itself. Death Valley conveys the loneliness and stigma attached to self-stimulation and is uncomfortable, almost homo-erotic viewing.

Gaspar Noé provides one of the longer segments with We F*ck Alone at 23 minutes. As with his earlier Irreversible, he uses strobes and a heartbeat-like thumping background score to create sensory disorientation. At one point a man puts a gun in sex-toy doll's mouth as he copulates with it. The scene maybe suggests the danger of sexual repression symbolised by solitary pleasure - if the psyche is unable to negotiate normal sexual relations with another person it tends towards force and a desire for dominance. The title is a play on the title of the director's first feature film, I Stand Alone (Seul Contre Tous), a controversial story about despair and loneliness and the resulting sexual pathology.