However, it's porn with a message, albeit that the meanings are somewhat banal. It would be hard to write a review with spoilers because the basic plots are given away in the IMDB storyline summary.
"Diablo en Madrid" is a story of serial temptation in a graveyard. An irresistibly goodlooking guy is playing the part of the Devil who's come up to earth from hell. He succeeds in his mission of seduction, meeting resistance only when he encounters the "good" angel. This is portrayed as a battle of good and evil in the summary. But what is good and what is evil? Is the disapproval and avoidance of sexual pleasure good? Well, for me, the right one wins.
In "Über Menschen" there is a reference to Nietzschean philosophy in the title playing on his theme of the Übermensch from "Also Sprach Zarathustra". I assume that the example of the taxi driver and his giving of his body is a rejection of religious indoctrination and the acceptance and embodiment of human idealism as an end and wellspring of itself and not imposed from outside.
It was a flaw to cast Francois Sagat in "Purple Army Faction". I love the guy and have watched many of his films, both porn and otherwise. But he is so heavily identified with being a gay bottom that to present him as a hetero needing conversion to gayness was not convincing. I would be surprised if there were many people watching this who were not aware of him. Nonetheless, he played his part impeccably as always, as did the other three actors.
"Fleapit" brought memories back. There used to be one in Soho in London, there was a famous one in Paris, one in Bochum on Germany and another near the Zeinab Mosque in Cairo, all of which I have been to. This stylised and idealised portrayal of the institution was true to life and its idea. There was always an audience who got turned on but didn't participate (or hardly did) and that happened here with the four who remained in their seats while the other audience members performed, eventually spurting their life-affirming juices on the stage in front of the screen to the delectation of the spectators.
An overall impression? The guys didn't seem forced at all; they were having a good time. The themes were important but not susceptible to more than the most superficial treatment in the context of four films in seventy minutes. Normally I'd never watch this amount of unsimulated sex, but there was a meaning to it and it would have been hard to get the ideas across in another way.
"Diablo en Madrid" is a story of serial temptation in a graveyard. An irresistibly goodlooking guy is playing the part of the Devil who's come up to earth from hell. He succeeds in his mission of seduction, meeting resistance only when he encounters the "good" angel. This is portrayed as a battle of good and evil in the summary. But what is good and what is evil? Is the disapproval and avoidance of sexual pleasure good? Well, for me, the right one wins.
In "Über Menschen" there is a reference to Nietzschean philosophy in the title playing on his theme of the Übermensch from "Also Sprach Zarathustra". I assume that the example of the taxi driver and his giving of his body is a rejection of religious indoctrination and the acceptance and embodiment of human idealism as an end and wellspring of itself and not imposed from outside.
It was a flaw to cast Francois Sagat in "Purple Army Faction". I love the guy and have watched many of his films, both porn and otherwise. But he is so heavily identified with being a gay bottom that to present him as a hetero needing conversion to gayness was not convincing. I would be surprised if there were many people watching this who were not aware of him. Nonetheless, he played his part impeccably as always, as did the other three actors.
"Fleapit" brought memories back. There used to be one in Soho in London, there was a famous one in Paris, one in Bochum on Germany and another near the Zeinab Mosque in Cairo, all of which I have been to. This stylised and idealised portrayal of the institution was true to life and its idea. There was always an audience who got turned on but didn't participate (or hardly did) and that happened here with the four who remained in their seats while the other audience members performed, eventually spurting their life-affirming juices on the stage in front of the screen to the delectation of the spectators.
An overall impression? The guys didn't seem forced at all; they were having a good time. The themes were important but not susceptible to more than the most superficial treatment in the context of four films in seventy minutes. Normally I'd never watch this amount of unsimulated sex, but there was a meaning to it and it would have been hard to get the ideas across in another way.
