Nick Zedd has a rough sexual playtime with two young women in the film's first half; in the second, whilst dressed in drag, he attempts to fellate a too-drunk Rick Strange. All the while, Killdozer's 'King Of Sex' grinds away on the soundtrack.
Although the film's short length and use of rock music over dialogue inevitably lends 'King Of Sex' the air of an overly explicit music video, there do remain numerous undercurrents and aesthetic pre-occupations which occur throughout Kern's work. The film's structure, for instance, pre-empts his better-known 'The Evil Cameraman' in its first half documenting ritualistic S/M abuse, only for the second half to focus on the humiliation / emancipation of the earlier protagonist. As with all Kern shorts, this is kinky, greasy-looking stuff: tattooed New York punks making tattooed punk sleaze. Good music, too.
Although the film's short length and use of rock music over dialogue inevitably lends 'King Of Sex' the air of an overly explicit music video, there do remain numerous undercurrents and aesthetic pre-occupations which occur throughout Kern's work. The film's structure, for instance, pre-empts his better-known 'The Evil Cameraman' in its first half documenting ritualistic S/M abuse, only for the second half to focus on the humiliation / emancipation of the earlier protagonist. As with all Kern shorts, this is kinky, greasy-looking stuff: tattooed New York punks making tattooed punk sleaze. Good music, too.
