Comedy, pathos and lots of naked, dangly bits!

A stand-out at the recent Tribeca Film Festival, we've got our eyes on The Auteur, the sweet and raucous story of Arturo Domingo, the one-time leading director of art-porn cinema (Five Easy Nieces, Requiem for a Wet Dream, Full Metal Jack-Off), who finds himself at an all-time low in both career and romance.

The movie is a perfect fit for CineKink and we'll naturally be looking to include it in our next fest. But that's still a ways off - approximately 291 days as of right now, but who's counting? - and we'd love for it to find the audience it deserves in the meantime.

And you can help! Currently in the running for a slot in From Here to Awesome, a new festival that strives to cut through a lot of distribution mumbo-jumbo and make films more widely and directly available, you can take a gander at the submission trailer for The Auteur below and then make your desires known right here:



(It plays a much larger role in the actual movie, but watch for a few cameo appearances of the Clinton Street Theater, past and possibly future home to CineKink: PDX!)

Um. Pornography is in focus?

A twist on an old joke has cropped up around CineKink, surfacing more frequently around festival submission time:

"What's the difference between art and pornography?"

"Pornography arrives with its 2257 compliance properly identified."

Bah dump bump.

Anyway...an expansion on some of the topics we discussed during our recent SXSW panel, The Porn Police: Know the Rules, an article by attorney Alan Levy has just been published in The Yale Law Journal.

First tracing the history of federal 2257 record-keeping regulations and its recent judicial back-and-forths, the article then goes into the implications that they present to all filmmakers, including those working with actual and with simulated depictions of sexual conduct.

Mainstream filmmakers should be especially concerned with the language of the most recent published § 2257 regulations, in which Attorney General Alberto Gonzales wrote, “Section 2257A requires that producers of visual depictions of simulated sexually explicit conduct maintain records documenting that performers in those depictions not be minors.” Does this mean that a noted film such as Taxi Driver, in which a twelve-year-old Jodi Foster portrays a thirteen-year-old prostitute, is unlawful? What about the more recent controversial film Hounddog, which premiered at the 2007 Sundance Film Festival and portrayed twelve-year-old Dakota Fanning as a rape victim? Even a film nominated for Best Picture at the 2008 Academy Awards may be affected by § 2257A. Atonement has one scene of explicit simulated sexual conduct involving actress Juno Temple, who was seventeen years of age at the time of filming.

While filmmakers working in the adult arena are, for the most part, all too aware of the regulations, their existence seems to escape notice of documentarians who occasionally stumble into the realm of actual sexual conduct. (And again, we ask, what the hell does that mean?) And with the expansions presented by 2257A, a huge new class of fiction filmmakers is folded into the mix.

For all, it is critical to know both the rules and the risks - and to work together in protesting their chilling presence.

To read more of Alan's article: How “Swingers” Might Save Hollywood from a Federal Pornography Statute

A fight to the finish

The fifteenth and final New York Underground Film Festival kicked off last night and continues through April 8th at Anthology Film Archives.

In a comprehensive profile on indieWire about the changing landscape of underground festivals in the US, organizers point to new distribution technologies that make many of the works they showcase more readily accessible - a consideration also looming for kinky film festivals, no doubt. But they also question the nebulous definition of the genre itself:

"What is 'underground' film anyway?" wondered Ed Halter, the former director of NYUFF and one of this year's special curators. "The term 'underground' is problematic because most people are under the misconception that 'underground, is synonymous with 'shock' cinema."

In the comments to the article, filmmaker Ralph Ackerman puts the query in to some historical perspective:

I started making experimental films in 1963 and at that time we called it underground cinema because if we showed our films in the public we were always arrested for being obscene etc... Things are so mild now. Kenneth Anger with his trangressive films faced the coops (sic) often."

With that, our best wishes to NYUFF organizers in their new venture, Migrating Forms - and just one of the NYUFF '08 trailers, a retro-flavored, hair-pulling rendition commissioned from Peggy Ahwesh.

Delayed gratification: Sex & SxSWing!

Going from CineKink to SXSW to Dark Odyssey has been a bit of a gauntlet - a gauntlet of pleasure, to be sure, but now that we're at the end of it, our body, sensing a respite, seems to be flirting heavily with what is generally known as the common cold. But, dammit, not before we get out this too-long-delayed SXSW recap, even through a Nyquil haze...

You can take a listen to the podcast here, but our panel, The Porn Police: Know The Rules, went off well and we managed to cram a ridiculous amount of somewhat tedious 2257 detail into our alloted hour. In addition toyours truly, the speakers included Violet Blue, deftly illustrating how the regulations play out in the real world and the problems they present for artists on both sides of the camera, attorney Alan Levy, keeping us on track with which part of the law stipulates what - and what that might actually mean in the day-to-day - and director Joe Swanberg seeming to grow increasingly consternated with the realization of how the rules could well apply to his own, er, body of work. (Lascivious display of nudity, anyone?!)

Bottom line - for all media makers working with depictions of sexual conduct, both actual and simulated (what's that?), it represents another area of calculated risk - one that will warrant further discussion in the months ahead. While the danger is probably slim for most, it's still critical to know the rules rather than blithely plowing ahead and hoping for the best.

And in other sex matters at SXSW:

Violet Blue also tackled and spurred further online discussion of a tricky subject with her lively panel, Sexual Privacy Online.

Cory Silverberg facilitated a discussion on Sexual Ethics, Interactivity and Virtual Worlds

Twanna a. Hines took on Adult Conversations: Sex, Intimacy & Online Relationships.

Elizabeth Wood and Lux Alptraum led the core conversation Pink Ghetto Blasters: Destigmatizing Sex, then Lux gave us a 20x2 rumination on the differences between porn and erotica:



Film offerings we managed to catch included Bi The Way, a look at the sexual inclinations of the so-called "whatever generation," Obscene, a documentary profile of the colorful Grove Press publisher, Barney Rosset, and the superb Sex Positive, exploring the life of activist Richard Berkowitz and his critical role in the now taken-for-granted concept of safe sex.

And, not quite sex, but about as close as you can get armed only with a Handywipe, we enjoyed reprised BBQ revelations at Iron Works and - well worth the trek out to Driftwood - Salt Lick!

Once again, we'd like to thank SXSW for their sex-positive inclusivity - along with Matt Dentler, Hugh Forrest and their respective crews for making it all happen.

They'll know it when they see it

One delayed flight and some much needed sleep later, we're back from our SXSW adventures.

We'll have more to report once we've had a chance to recombobulate, but meantime, many congratulations to our fellow Porn Police panelist, Joe Swanberg, whose Nights and Weekends was picked up for distribution by IFC.



While much of our panel discussion centered around the dry - and vague - legal particulars of what might be deemed lascivious or even explicit, the film is a beautiful example of sexuality utlized in the service of story and artistic expression - and why such arguments are so vital in the first place.

The Porn Police @ SXSW !

As part of SXSW, CineKink’s co-founder and director, Lisa Vandever, will moderate a panel about the various regulations on sexually explicit content and how they may apply to all types of media producers.

THE PORN POLICE: KNOW THE RULES
Saturday, March 8 - 5-6 pm

It may seem like sex is everywhere in film, television and online, but sexual portrayals are surprisingly restricted - and getting more so everyday. Already draconian federal regulations on the depiction of sexually explicit conduct were recently expanded and signed into law by President Bush, and now apply to an even wider class of media makers. Not just pornographers, but anyone creating and working with explicit imagery of even simulated sexual conduct - bloggers, webmasters, narrative filmmakers, documentarians - needs to know the rules and the risks.
This session will touch upon:
* Overview of 18 U.S.C. 2257 & 2257A record-keeping requirements for actual and simulated sexually explicit material
* New wrinkles introduced by online access/distribution of materials
* Resources for additional information and advocacy support

Panelists:
Violet Blue
Tony Comstock
Alan Levy, Esq.
Joe Swanberg

If you're around, come on by!

Pick me, pick me!

It's perhaps not the same level of trepidation that used to descend as the teams were divvied up for sixth-grade slaughter-ball, but we had a wonderful time at SXSW last year and we'd love to ensure our return in 2008. To that end, we've suggested a panel discussion for the festival, inclusion of which will be partially determined by the results of the SXSW Panel Picker, which is live and online now! (Pick me, pick me!)

Inspired by the cheerful oblivion to current and pending restrictions on sexual content demonstrated by most non-porn media makers, we've proposed:

The Porn Police: Know the Rules
Already draconian regulations on depictions of sexually explicit conduct were recently revised and now apply to an even wider class of media makers. Not just pornographers, but anyone creating and working with explicit imagery, bloggers, webmasters, narrative filmmakers, documentarians; need to know the rules and the risks.

Last year we noted SXSW's sex-positive inclusivity and the possibilities for this one again look promising. While you're in the picker giving us your vote, also give a nod to:

Violet Blue -
Sexual Privacy Online

Deb Levine -
Online Sex Advice

Cory Silverberg -
The Future of Sex in Interactive Narrative and When No Means 01001: Sexual Ethics and Interactivity

Elizabeth Wood -
Pink Ghetto Blasters: Destigmatizing Sex via Online Community Building

But don't forget to pick me, pick me!

Pain, passion and the old grey lady.

Catching up with an article by ST VanAirsdale in today's New York Times entitled "Passion for Film Spurs New Festivals, but Grueling Work Keeps Them Going," we find ourselves staring off at the wall and nodding in mute agreement. Running a film festival is haaaard. (Though, we must admit, not nearly as hard as the mind numbingly week-upon-week "temp" data entry gig we once endured.)

An interesting overview of how the festival circuit has come to replace traditional distribution for many independent filmmakers, the article also touches upon the reward that - for us, anyway - helps propel us forward, the pleasure of connecting a work with its perfect audience.

For low-budget filmmakers New York festivals allow them to get their passion projects in front of committed moviegoers, all at an average cost of $40 per submission. Genre directors once banished to larger fests’ midnight-movie ghettos have flourishing outlets like the NYC Horror Film Festival or the sexually themed CineKink. Foreign-language works reach viewers at Polish, Cuban, Korean, Brazilian and other specialized series.

Coming up on our fifth go-round in February - slogging away, working so diligently these many years - we've often claimed that we "eat their mid-night movies for breakfast." It's delightful to have the old grey lady finally take notice.

Joanna Angel wants you to submit! (Seriously, she does.)

The deadline to submit your works to CineKink-partner, the Los Angeles Erotica Film Fest, is coming up fast.

So, either do it for Joanna - or do it for us - but do it now!

See you in Tinseltown!

Pack your bags and dust off your headshots, then make plans to join us in Hollywood, as we hook up with the Los Angeles Erotica Film Fest, a brand-new event that debuts in September.

Produced by XFANZ, the goal of LAEFF is to create "a dynamic forum where filmmakers, industry professionals and fans can gather to enjoy and discuss films that push the boundaries of eroticism." That all sounds great by us and we're proud to be on board as an official festival partner. It's been exciting to see the boundaries between the different film worlds begin to merge over the past couple of years and LAEFF is a very welcome new ally in encouraging even more of that.

Scheduled for September 15-16 at Hollywood's Knitting Factory, the event will present short and feature-length erotic films from fans around the world, as well as from within the adult industry.

But if you'd like to have your own work considered, you'd better act soon - or, as we like to say, submit now!

The deadline is coming up fast... August 15th.

Yeah, so where do you get off?!

Quite alot of twisted knickers seems to be the result of a new video promoting European filmmaking. A rapid montage of sex scene clips builds and, er, climaxes to the slogan "Let's come together." Granted, the end image of an apparently male-only audience in rapt attention left us a wee bit skeeved, but we suspect much of the reported outrage was piqued by the inclusion of lovers that fall outside of strictly heterosexual and HWP parameters.

Or then again, maybe it's just any excuse for nationalism. Reports The Guardian:

Godfrey Bloom of the Eurosceptic UK Independence Party described the film as "cheap, tawdry and tacky" and demanded to know the cost to European taxpayers. "You might say it's appropriate for them to put out films like this," he told the Sun newspaper. "Brussels has been screwing the UK for at least 30 years."

We probably shouldn't take comfort in this, but we're finding it oddly uplifting to know that moralistic posturing isn't restricted solely to this side of the pond.

Save the Dates - CineKink NYC!!

Alright, you can stop holding your breath now, your anxious anticipation is over. We're delighted to announce that our anchor event, CineKink NYC, will be moving out of the glutted fall cultural season and leaping into February - yep, it's a leap year - in our fifth annual(ish) appearance.

Get ready to jump along with us, February 26 - March 2, 2008, when we present a specially-curated program of films and videos that celebrate and explore a wide diversity of sexuality. In addition to screenings, plans also include a short film competition, awards, panels, parties and a gala kick-off fundraiser.

CineKink is currently inviting sponsors to come on board for the festival and a call for entries will go out shortly. If you're not receiving our regular updates, be sure to sign up here to get all the latest information.

Meanwhile, mark your calendars... February 26-March 2, 2008 !!!

SxSWing

There's nothing like a 25-hour trip home through frigid conditions to blur recent memories of a week spent knocking about spring-like Texas, especially when those recollections might have already been made hazy by a week of tequila and BBQ.

After a few days of sleep, however, it's all starting to come back to us. We arrived in Austin to learn that our panel, Sex Scenes Stay Hard, was being touted as a "must-do" in the local media. It took us several days to tackle our resultant stage fright, but by the time we finally faced a room packed with attendees eagerly anticipating tidbits of uproariously naughty wisdom, our nerves had been reduced to a minor frog lodged at the back of our throat.

We were definitely comforted that the panel also featured other actual experts on the topic of shooting sex scenes - directors Bryan Poyser, Joe Swanberg and John Cameron Mitchell (who coyly avoided any acknowledgement of completely coopting our intended career trajectory), along with producer Lisa Thrasher of POWER UP. You can see a few video excerpts here, but generally the discussion touched upon the frequent conflict between sex and narrative, the importance of making cast comfortable and ensuring a connection between them, and the hypocrisy of a society that seemingly doesn't question the depiction of violence, no matter how extreme, yet goes into a tizzy fit over the presence of a mere bare breast. As time flew by, the topics of ratings, obscenity laws and 2257 requirements were probably given shorter shrift than they deserve, but we're just happy we somehow managed to work the word "cunninlingus" into the conversation, since now that we know how to pronounce it, we just can't seem to say it often enough.

Other excitements at SXSW included meeting up with several in the flesh representatives from the CineKinkster blogroll. We probably spent more time in Austin with the lovely, cupcake-wielding Rachel Kramer Bussel than we've ever pulled off in NYC, after she appeared on one of the (strangely?) most controversial panels of the interactive conference, Do You Blog on the First Date? We had the pleasure of finally meeting both Violet Blue and Cory Silverberg, who were speaking on Sex and Computational Technology. (Teledildonics? Now there's another great word!) And we encountered the delightful Seska Lee, in town for Pay Up! Should Publishers Choose the Porn Path?, whose Seska 4 Lovers was previously unknown to us, but whom we eventually recognized from an episode of HBO's porn-related something-or-whichever.

And movies? There were marathon days of great screenings, including a few on the CineKink scouting roster: Zoo, a beautifully shot if perhaps overly tasteful retelling of one man's death from having sex with a horse, and Pretty in the Face, a tender narrative about porn, sex toys and opening up to one's own sexuality. But for our money, the kinkiest of them all by far was Helvetica, a documentary look at the twisted world of compulsive typography fetishists.

Many thanks to the ever-gracious Matt Dentler - how does he manage to be in so many places at the same time? - and Jarod Neece for the wonderful time and for SXSW's sex-positive inclusivity. We're already looking forward to coming back again next year. (Please?!?)

We miss all the cool parties

Well, not all of them. Last night's CineKink shindig at the Pioneer was a fabulous time, even if we didn't have any naked people. That we know of, anyway. And it's not like we never have naked people at our parties, but...anyway, Saturday night was the big release party for CineKink alum Audacia Ray's brand new porn opus, The Bi Apple. A party that apparently featured many naked people.



For Audacia, who produced and moderated the panel, The State of Smut: NYC for last fall's CineKink NYC, the new project represents her move from in front of the camera to producing and directing. As chronicled in her blog, Waxing Vixen, that move included many of the perils and tribulations one might encounter making independent movies of the non-explicit kind - excepting, of course, for all of those naked people. From a recently posted Q&A with her production manager:

This being a much smaller set, I didn’t really have the luxury of sitting around and doing any one thing for any length of time. I had all the bookkeeping responsibilities of a production manager, but when I wasn’t up to my elbows in receipts and model waivers, I was helping the PAs schlep cases of bottled water or holding the ladder for the set designer or setting up the lighting and backdrop for the photographer or installing an air conditioner or ordering lunch or, after several hours of frenetic activity, finding the coolest room in that sauna of a set that I possibly could and sitting with most of the crew in utter silence for an hour or two so that you could make smu.. er, art in a room down the hall. And occasionally bitching at the director for going overbudget.

It's an interesting, ongoing discussion of the process and you'll find many of Audacia's moviemaking experiences of the past year, now moving into the distribution phase, detailed in the blog.

Along, of course, with many pictures of naked people.