Speaker 1: Hi everyone, and welcome to another episode of Tonk Vacation.
Speaker 1: This is episode thirty three. This is a podcast dedicated
Speaker 1: to finding the joy in unfettered creativity, and it's also
Speaker 1: a podcast dedicated to bringing awareness in context to movies
Speaker 1: of any budget, from anywhere and during any time. And
Speaker 1: this is actually that mission statement truly couldn't apply more
Speaker 1: to this episode in particular. First off, I just want
Speaker 1: to say welcome back, Chris, thank you, and we are
Speaker 1: actually jumping into another episode that we recorded. This is
Speaker 1: kind of just like an intro for that. We did
Speaker 1: an episode with Celeste where they had us on for
Speaker 1: their live stream and we talked about all most of
Speaker 1: the October a little bit of a September because there's
Speaker 1: a bit of a cheat there with the delay on
Speaker 1: the Sato release. But we talk about the Fireworks, Woman,
Speaker 1: Hot Honey, a couple other Billlustic titles, the Violation of Claudia,
Speaker 1: and a couple partner releases, and it's awesome. We really
Speaker 1: got to like it went so well. We're doing this
Speaker 1: again in the new year, which recording this. Yeah, we're
Speaker 1: going to talk about the November releases because it was
Speaker 1: such an incredible slate and quite a big slate with
Speaker 1: partner titles, So really really stoked to present this episode
Speaker 1: to everyone, and without further ado, let's just jump right
Speaker 1: into it.
Speaker 2: Okay. So, if you've been paying attention to my YouTube
Speaker 2: channel the past week or so, you'll have seen that
Speaker 2: I've been uploading in batches the segment that I do
Speaker 2: for Punk Vacation called fifteen Minutes with You, which is
Speaker 2: where I review the month's slate of releases over on
Speaker 2: the Miliu scene site. So all the Vininger Syndrome, Hardcourt titles,
Speaker 2: all the sub labels, and all the partner labels. Hi, Tony,
Speaker 2: thank you for being here. It's been nice going through
Speaker 2: those old segments and re cutting them and sort of
Speaker 2: recontextualizing them for YouTube. It was way more of a
Speaker 2: project and way more of a pain than I thought
Speaker 2: it would be because YouTube is kind of a platform
Speaker 2: built for babies, and I had to sort of attempt
Speaker 2: to water down the content as much as possible on
Speaker 2: the front end so that I don't get in trouble
Speaker 2: by the time people actually start listening to the segment.
Speaker 2: But it's uh, yeah, it's been nice to see how
Speaker 2: far the segment has gone. How far it's come. Uh,
Speaker 2: and I have with me the co hosts of Punk
Speaker 2: Vacation waiting in the wings, So do me a favor, y'all,
Speaker 2: and let me know if the sound is good, because
Speaker 2: the last time I did this, I looked and my
Speaker 2: guests sound was like way too low. So I've done
Speaker 2: my best to adjust that intuitively. But if you can't
Speaker 2: hear them, let me know. But uh, okay, we're gonna
Speaker 2: go ahead and bring in Chris of Punk Vacation nonofficial
Speaker 2: Vineger stations and podcast, which introduces.
Speaker 1: Hello, Hello, everybody.
Speaker 3: Well, Chris has here. I probably know a lot of y'all,
Speaker 3: but if I don't know you, thank you for supporting Celeste.
Speaker 3: She's awesome and this has been a long time in
Speaker 3: the making, and I agree October and remember well October
Speaker 3: anyways was just a crazy month for the melos in side,
Speaker 3: so it will be fun to dig through some of
Speaker 3: this to stay with you.
Speaker 1: Yeah, I'm glad Chris said something because we've both just
Speaker 1: said hello, and I realized there were no names attached
Speaker 1: to that, so but I think we look like our voices,
Speaker 1: so I think people would have figured it out. But yeah, hey,
Speaker 1: thanks for being here. Everybody, and thanks for having us.
Speaker 1: I'm like really stoked. I remember when this first when
Speaker 1: we first when you first kind of pitched this to us,
Speaker 1: I also was like I kind of just asked. I
Speaker 1: think I was like, hey, can I join you to
Speaker 1: talk about the October titles because they I mean, the
Speaker 1: fact that Sato got kind of inducted into that made
Speaker 1: it even more exciting.
Speaker 3: I'll just say, Celeste, this is a We've talked about
Speaker 3: this on the Punk Vacation, but coming on here, I'll
Speaker 3: say thank you again for letting me do Punk Vacation
Speaker 3: back in the day. And I've always loved your Vinegar
Speaker 3: Syndrome content, so I appreciated you being cool with me
Speaker 3: taking on this little initiative and then eventually even joining me.
Speaker 3: I think Eli might not be here if it wasn't
Speaker 3: for you, because it kind of teased the idea of
Speaker 3: the fact that I shouldn't do it solo and to
Speaker 3: cover the adult content, and both things are correct, And yeah,
Speaker 3: I've been loving your segments and contribution, and then obviously
Speaker 3: really desperately needed a co host, So Eli, I'm really
Speaker 3: happy you joined as well.
Speaker 1: Hey, I'm I told you as soon as Chris asked,
Speaker 1: I was like, yeah, I'm super stoked, and it's such
Speaker 1: a great I love being able to jump on both segments,
Speaker 1: like to pervout with Celeste and also chat genre. It's
Speaker 1: like kind of my ideal sweet spot. So yeah, I'm
Speaker 1: really stoked, and I'm also so really stoked that we're
Speaker 1: like so close to it's funny we're not even covering
Speaker 1: the November releases, which are insane. But also I'm super
Speaker 1: stoked for subscriber Week. I don't know how many people
Speaker 1: are actually stoked to see what's in store, but for me,
Speaker 1: it's not just like I'm mostly stoked because you know,
Speaker 1: obviously they're going to go big that week, but excited
Speaker 1: to see how big they go on the mal you
Speaker 1: see side.
Speaker 3: It's interesting that you say big, because that's one thing
Speaker 3: I noticed going through some of these films was maybe
Speaker 3: this is going to be commonplace for y'all. But I
Speaker 3: feel like in vintage porn it wasn't always just about
Speaker 3: the massive dick. It had like more humans, irregular human
Speaker 3: sized penises, and a lot of the stuff we're going
Speaker 3: to be talking about today. And I just want to
Speaker 3: go on the record to saying I appreciate that.
Speaker 1: Well. I mean people were also allowed to have like
Speaker 1: crooked teeth and hairy bodies and it wasn't considered like
Speaker 1: a fetish if they had hair. Yeah, you know, it
Speaker 1: wasn't a subsection in the video story yet, so like it,
Speaker 1: you know, And it's funny because I feel like now
Speaker 1: there probably needs to be a video section that says
Speaker 1: like plot if it has a plot, And obviously we'll
Speaker 1: talk about that also with regards to a couple of
Speaker 1: these movies, because they do have plots, but some even
Speaker 1: the ones that don't, are still plot heavy in a way. Yeah,
Speaker 1: it definitely, it definitely does feel like the everyman is
Speaker 1: performing in these scenes and the every woman and every person.
Speaker 1: Yeah yeah, yeah. I And also, by the way, this was,
Speaker 1: in my opinion, a very strong year for Meluccene, even
Speaker 1: beyond this month and even beyond the Mitchell Brothers, Like
Speaker 1: they had some really interesting from January onward. It was
Speaker 1: like kind of an incredible release schedule. And I you know, personally,
Speaker 1: I hadn't gotten around to getting a lot of the
Speaker 1: old Pikarama DVDs, so I was really happy that they
Speaker 1: got HD upgrades. So yeah, really, really, really stoked for
Speaker 1: that to see like what what's what they're upgrading next,
Speaker 1: and also like what they're digging up not just from
Speaker 1: like Mitchell Brothers, but just in general, like what they're
Speaker 1: going to do with the quality X and all the
Speaker 1: sub labels and partner labels. Because obviously Celesti, she's going
Speaker 1: to talk about this or they're going to talk about
Speaker 1: this closer to probably on the next episode. But you know,
Speaker 1: now they're doing like Delirium Home Video, which is a
Speaker 1: lot of just Franco adult stuff and like, you know,
Speaker 1: titles that aren't exclusive to just Vinegar Syndrome's warehouse. I
Speaker 1: guess you could say, yeah, so really starting for that.
Speaker 3: Behind the Green Door is selling well, Like it's already
Speaker 3: got twenty seven hundred copies sold, which is pretty great.
Speaker 1: Wow, that's great. How many slips did they do? Four thousand? Awesome? Yeah,
Speaker 1: even Fireworks Women at first wasn't felt like it wasn't
Speaker 1: selling super well, but now it looks like it's like going,
Speaker 1: it's like going a lot quicker.
Speaker 3: Have you prior to this year, had you seen every
Speaker 3: single title in a calendar year for releasing?
Speaker 2: No, not at all.
Speaker 3: Nice.
Speaker 2: No, I had seen a couple things here and there,
Speaker 2: and like I would pick up stuff on sales and
Speaker 2: I'm trying to think if I even ever bought like
Speaker 2: a new release from them before this. I just don't
Speaker 2: really buy new releases in general. Like this year, I
Speaker 2: think the only thing I pre ordered was that new
Speaker 2: Possession set, which is like.
Speaker 1: Well, that's like I must buy. Yeah, that was like
Speaker 1: a day one I I.
Speaker 2: Yeah, I pre ordered it the second it went up.
Speaker 3: Which won the Second Site one mm.
Speaker 1: Yeah, yeah, yeah, I did too. I got it from
Speaker 1: Atomic like right away.
Speaker 2: Okay, let's see.
Speaker 3: Here on that movie at least twice already, but I
Speaker 3: made I made triple to.
Speaker 1: Okay, we'll see here.
Speaker 2: If you can afford it, it's worth it because I
Speaker 2: think it might be selling out places and uh, I
Speaker 2: don't have it on me, but it has. I mean,
Speaker 2: I guess it depends on how much you love this movie,
Speaker 2: because Second Site likes to do these editions where it's
Speaker 2: like larger than like a like a hardback like academic
Speaker 2: like encyclopedia or something, and like that's kind of a lot.
Speaker 2: If it's just like a movie that's like a seven
Speaker 2: or an eight out of ten for me. But when
Speaker 2: it's my second favorite film of all time. I'm like,
Speaker 2: make it as big as you want. I'm well here.
Speaker 1: For it, you know. Yeah, Yeah, that's a that that
Speaker 1: that box is it is a that's a big I
Speaker 1: just got it, and good god, it is crazy. It's
Speaker 1: up there with the Hitcher in terms of like size.
Speaker 1: I couldn't. Yeah, but I'm happy to own that too.
Speaker 1: I'm the same way like I'm I've been pretty good
Speaker 1: about going back to standards when I when I can.
Speaker 1: But but that one, yeah, that was a little that
Speaker 1: was kind of irresistible.
Speaker 2: Yeah, I'm definitely like in standards mode as of late,
Speaker 2: because it's just like it's too much, you know, it's
Speaker 2: much space and too much money, and you know, I
Speaker 2: just what's on the disc is usually fine, I mean,
Speaker 2: you know, I mean, I'm a sucker for the books
Speaker 2: and the booklets and stuff, but I can't always have
Speaker 2: it right. But that one it has the script included,
Speaker 2: and it has like a big chunky book full of
Speaker 2: all sorts of like history and essays. It has all
Speaker 2: sorts of new special features. I think it's the first
Speaker 2: time the American cut has been remastered in four K,
Speaker 2: which I've actually never seen the American cut. I know
Speaker 2: it's not supposed to be great, but like just in
Speaker 2: terms of having the option, it'd be interesting. Yeah, I'm
Speaker 2: really really stuck. Like I came in and I was like,
Speaker 2: Mary christ from me.
Speaker 3: That's not a seven ear and eight for me, that's
Speaker 3: a ten, So I'll get it. I was laughing at
Speaker 3: I was walking through. There's a video store here in
Speaker 3: Austin called Waterloo Records, and I mean it's a music store,
Speaker 3: but they have movies as well. And I finally got
Speaker 3: to see the imprint version of The Keep. Have you
Speaker 3: seen this thing?
Speaker 2: Oh my god, Oh I've only seen.
Speaker 1: I've seen pictures like like for reference, I've seen people
Speaker 1: on like Reddit and Facebook, but like they're like, this
Speaker 1: is the Keep, this is the other Keep, and it
Speaker 1: literally is like the palm of your hand versus like
Speaker 1: a door.
Speaker 3: Yeah. Yeah, it's so big for that movie. That's not
Speaker 3: a tent. I mean it's a fun movie, but that's
Speaker 3: not a yah.
Speaker 2: I actually like it a lot, but I wouldn't need
Speaker 2: a coffee table book.
Speaker 1: Of it for my house, you know, yeah, totally totally,
Speaker 1: that's like I agree. Yeah, I also, well, you know,
Speaker 1: it's funny, just to tie this back to Melu scene.
Speaker 1: When it comes to a Melu scene release, that's when
Speaker 1: I'm gonna get a big book, Like that's when I
Speaker 1: want the slip cover with all the stuff, because that's
Speaker 1: usually what where it comes with the literature, with all
Speaker 1: the contexts and stuff that you need for something like this.
Speaker 1: For sure, you know, I mean, I'm sure there are
Speaker 1: some people who do buy it for its original intended purpose,
Speaker 1: but I would I would venture to say ninety percent
Speaker 1: of people buying Malo, you see titles are more in
Speaker 1: it for a sort of like you know, for the
Speaker 1: like the artifactualness of it.
Speaker 2: Hey, Jeff, thanks for being here. Okay, so should we
Speaker 2: go over the titles that we're going to talk about
Speaker 2: to there? Just like absolutely rundown Now I'm live. Yeah,
Speaker 2: so I meant to say this before we went live,
Speaker 2: but please be careful about what we show on screen
Speaker 2: because I could get in trouble. I'm just looking at
Speaker 2: these cover arts. I think they're all safe. Yeah, we're
Speaker 2: good to go, all right. So I think so Chris
Speaker 2: has seen half of these, and I think he said
Speaker 2: he has to take a work call at some point,
Speaker 2: so he might need to peace out after we go
Speaker 2: over the stuff that we have all seen, and then Eli,
Speaker 2: you and I can cover the other two. So I
Speaker 2: think this is the order that makes sense the what
Speaker 2: I'm looking at right now. So we're gonna do the
Speaker 2: I haven't actually tried to pronounce this out loud. The
Speaker 2: films of Hisa Yasu Sato pretty okay, Yeah, yeah, nice, okay,
Speaker 2: featuring the films Rewind, Lust Mord, and Love Letter in
Speaker 2: the Sand. I guess start with the most insane shit first, right?
Speaker 3: Why not?
Speaker 1: Absolutely?
Speaker 2: I guess that's subjective. These are all pretty out there.
Speaker 2: The next from the boy fucking Goaded Classic Man Wes Craven,
Speaker 2: we have the Fireworks Woman aka the Fireworks Man, and
Speaker 2: then from uh Exploitation Extraordinaire William slash Bill Lustig, we
Speaker 2: have the Violation of Claudia and I think I'm good
Speaker 2: hot honey. And then finally, I'm not going to show
Speaker 2: this back art work we have inside Jennifer Wells, which
Speaker 2: real ball knowers, all right, Jennifer Wells, Yeah, Goaded, Okay,
Speaker 2: so I'm excited about that. Yeah, all mel you seen titles, correct, Jeff.
Speaker 2: I could be punk rock and just show it, but
Speaker 2: that might literally get my channel in trouble. So we're
Speaker 2: trying not to do that if we can avoid it. Man,
Speaker 2: let me tell you, Let me tell you about my week.
Speaker 2: So I was like, oh, let me just pull the
Speaker 2: audio from the h from because I send Chris the
Speaker 2: audio when I'm done, and then he stitches it into
Speaker 2: the episode, and I'm like, I'll just pull those redownload them,
Speaker 2: throw a couple of static images up, make a thumbnail
Speaker 2: real quick, put it up there. It should be a
Speaker 2: few hours. This project. Couldn't find the old files because
Speaker 2: they were they get auto deleted from Google Drive, I
Speaker 2: guess after a certain amount of time. So I had
Speaker 2: to like pull the entire podcast audio from Podbean or
Speaker 2: whatever the source I used was and then re cut
Speaker 2: it down to just pull my segment from it. And
Speaker 2: then it started to occur to me as I was
Speaker 2: doing this and as I was creating thumbnails, like oh,
Speaker 2: this is just like porn that I'm talking about and
Speaker 2: that I'm making thumbnails for, and YouTube doesn't even like
Speaker 2: it when you talk about like way less controversial stuff
Speaker 2: than that. So I've just been kind of I was
Speaker 2: just kind of had to like re upload and like
Speaker 2: test like different thumbnails and different static images and stuff,
Speaker 2: and I finally got it down to a science where
Speaker 2: I can upload this stuff and not get in trouble.
Speaker 2: But it took forever. It was a whole process, and
Speaker 2: you know, I gotta say at the end of it,
Speaker 2: I am proud of myself because I mean we've always
Speaker 2: been talking about how like sort of thoughtfully or academically
Speaker 2: analyzing porn is like a pretty niche thing in and
Speaker 2: of itself, but of the stuff that exists, it's like
Speaker 2: entirely in academic books or on podcasts, because I think
Speaker 2: everybody kind of knew intuitively what I had to figure out,
Speaker 2: which is that it's not worth a headache to try
Speaker 2: to do this on YouTube. So like I was looking
Speaker 2: and like I can't. I'm not to like say that,
Speaker 2: you know, I'm sure there's other people that I just missed,
Speaker 2: but like I couldn't find them, so like it might
Speaker 2: just be me doing this on YouTube, And so I'm
Speaker 2: forging a path to make it to set the precedent
Speaker 2: that this is okay to talk about on YouTube. So
Speaker 2: I'm excited about that. I'm proud of that. Hopefully it's
Speaker 2: worth it.
Speaker 1: I think it is. I think so because I think
Speaker 1: we're I think things are getting too I think things
Speaker 1: are getting a little too puritanical again.
Speaker 2: M hmmmm.
Speaker 1: I think I think we've looped back around to a
Speaker 1: weird puritanical thing. And like like even some people I
Speaker 1: don't even think know that they're doing it, but like
Speaker 1: I think that there's this just this general disposition and
Speaker 1: a lot of stuff on on like TV and in
Speaker 1: movies that it's just like really antiseptic and and you know,
Speaker 1: like I'm not saying that that even porn from back
Speaker 1: then couldn't be clinical, but I feel like they it
Speaker 1: was genuinely being transgressive still there was still room for
Speaker 1: that in a way that's not like, uh, I don't know.
Speaker 1: Now it's it's like it's so much more self aware
Speaker 1: about its transgressiveness, not just important. I mean, in general,
Speaker 1: I don't think porn's actually meant to be transgressive anymore.
Speaker 1: I think now it's so fetishistic that it's not transgression.
Speaker 1: It's just more commerce than ever. I don't know, I mean,
Speaker 1: you can make the argument.
Speaker 2: I think it's definitely more of like analogous to like
Speaker 2: pornographers are like analogous like chefs at this point, as
Speaker 2: opposed to like, right, because they're definitely tailoring for very
Speaker 2: specific requests and needs and you know, yeah, yeah, exactly,
Speaker 2: it's the artist to it. You know, you'll never catch
Speaker 2: me discounting the contributions of sex workers.
Speaker 1: To our sure, No, no, I don't. I don't know.
Speaker 1: I agree wholeheartedly. Yeah, no, I just think that. But
Speaker 1: I do think that. You know, it's a lot different,
Speaker 1: and it's obviously shot you can now just shoot it
Speaker 1: on your phone and it looks it can look comparable
Speaker 1: to a fucking a digital camera. I mean, it is
Speaker 1: a digital camera, right, but like you know, so, it's
Speaker 1: just it went way. The stakes were kind of different,
Speaker 1: I guess, and the approach was also obviously the form
Speaker 1: and the function where even though there is like the
Speaker 1: same notes, the music was different. I guess, best way
Speaker 1: you can say.
Speaker 2: It, Yeah for sure, all right, I guess let's get started.
Speaker 2: Let's start with the set first in the new line
Speaker 2: Pink Line, which I looked because there was a lot
Speaker 2: of talk on the special features for this release that
Speaker 2: uh think you films are very specific. It's very specifically
Speaker 2: like softcore shot on film out side the studio system,
Speaker 2: like those are kind of the parameters for a pink film,
Speaker 2: and so like Roman Porno and all these other things
Speaker 2: that I think we kind of lump into, like Japanese
Speaker 2: hardcoren s exploitation are like technically different, and so I
Speaker 2: was like, oh, are we just doing pink films? Am
Speaker 2: I gonna have to suffer three more sublabel fucking announcements
Speaker 2: for like the different things. But if you read it,
Speaker 2: it says, hold on, I had it pulled up, and
Speaker 2: I get this pulled back up labels pink Line. Pink
Speaker 2: Line will present exclusive new restorations of select works from
Speaker 2: key Asian erotic filmmakers, the focus on Japan's pink eu
Speaker 2: aiga genre, so not even just Japan. So thankfully they
Speaker 2: can kind of put anything with the vibe in that
Speaker 2: one bucket and you don't have to have twenty five
Speaker 2: more sub labels.
Speaker 1: Well, I know that if they're saying specific filmmakers, there's
Speaker 1: like a lot and I'm I only know this from
Speaker 1: like cursory research, not anything I pulled up today. But
Speaker 1: there's like the the pink U Godfathers. There was like
Speaker 1: four or like four of them, and Sato's one of them.
Speaker 1: I wish I could tell you this is about where
Speaker 1: it gets a little more like uh, like I I
Speaker 1: for me, up until this line, most pinky in general,
Speaker 1: most pinky films, and for people listening they go by pink, pinky, pinkuo,
Speaker 1: depending on the context. But I know that there's some
Speaker 1: I've seen through, like I think Toy even did some.
Speaker 1: Maybe I could be wrong. I don't know if it's
Speaker 1: based on like a rating, but you know, rather than
Speaker 1: just a genre. But like, uh, I think Chris might
Speaker 1: be able to speak to this, but I think a
Speaker 1: few Mando releases would fall under pink, right, Yeah, I mean.
Speaker 3: There's different companies testing there putting their toes in the
Speaker 3: water a little bit. Manda Micawber has done it now,
Speaker 3: Connie has one that came out that we'll be talking
Speaker 3: about soon. But the thing that I love about this is,
Speaker 3: you know, they like this ties well into the history
Speaker 3: of Japan overall, because Japan had a big problem competing
Speaker 3: with TV. Like once TV was introduced, it became ubiquitous
Speaker 3: very fast, and so theatrical was always struggling after the
Speaker 3: sixties seventies in that era, and so there is a
Speaker 3: lot like if you look at a lot of the
Speaker 3: non sex movies, but like a lot of the exploitation movies,
Speaker 3: a lot of the hero is shie stuff. There's always
Speaker 3: pushing the boundaries, becoming more and more extreme. And then
Speaker 3: V Cinema came out of that because they realized that
Speaker 3: there was this incredible market for home video. So there's
Speaker 3: all these things kind of happening like at the same time.
Speaker 3: And even though Japan we were talking about going puritanical,
Speaker 3: Japan has always had this really weird tension with sex
Speaker 3: right where it's like it's such a confusing culture around
Speaker 3: sex in general. But I think this was an outlet
Speaker 3: for people, and we're going to talk about some wild
Speaker 3: shit tonight.
Speaker 2: Yeah, I don't really feel like this is my lane
Speaker 2: and I don't know enough about it, and I don't
Speaker 2: want to come off as like surely insensitive or whatever.
Speaker 2: But it is kind of a stereotype that Japanese media
Speaker 2: is like the real fucking sex freak shit. And then
Speaker 2: you also hear that they're like pretty strict about like
Speaker 2: gender and sexuality and things like that, and it's like
Speaker 2: but like every single anime they're all like androgenous and
Speaker 2: queer and all this other stuff. Like it's very like
Speaker 2: pretty consistent, you know, and I always wondered, like what
Speaker 2: the tension there is? And maybe it is just a
Speaker 2: sense of the the uh, it's more subversive in a
Speaker 2: culture like that. But then I wonder why we don't
Speaker 2: produce similar outcomes because it's also very puritanical around here,
Speaker 2: you know.
Speaker 1: Oh I I I mean I think we did, but
Speaker 1: it looks different. What what I think we had was
Speaker 1: the MPAA because if you think of what what what
Speaker 1: pinkus are, right, it's you have to blur certain things.
Speaker 1: So for anyone listening, and we've we've brought this up
Speaker 1: before and this is not for like the average person's consumption.
Speaker 1: But there was a very famous pink film with a wonderful,
Speaker 1: wonderful actor named Naomi Tani called rope Cosmetology and it
Speaker 1: I know Chris is familiar with it based on that
Speaker 1: smirk Celester you no, oh, okay. So this is a
Speaker 1: film that features a very very intense scene that eventually
Speaker 1: culminates in Naomi Tani having to service a dog. I'll
Speaker 1: just put it that way. I don't know if that
Speaker 1: puts that, but I hope I said it the right way.
Speaker 1: That doesn't get the YouTube. I hope we're working I
Speaker 1: hope we're sensoring. Okay, good, So it's.
Speaker 2: A very I will never say like grape for any
Speaker 2: of this other stupid baby that's like popular right now,
Speaker 2: but you know, right right, striking the balance, okay, I think.
Speaker 1: Okay, perfect, Well, there's this They blur that scene out,
Speaker 1: and they blur it very specifically, and it really is
Speaker 1: an example of a filmmaker using the form kind of
Speaker 1: it kind of s it all right there they're showing
Speaker 1: this incredibly graphic scene. Obviously she didn't really do it,
Speaker 1: but they use the blur to make it obviously simulate
Speaker 1: like it's happening. And yeah, Joe Demato would be very proud,
Speaker 1: and he probably was pissed he didn't get there first.
Speaker 1: And so obviously it's this really transgressive thing. It's something
Speaker 1: that's that's pretty much illegal everywhere, right, and and yet
Speaker 1: they get away with it because they blurred it properly.
Speaker 1: So transpose that and that's an extreme example, but transpose
Speaker 1: that to America. Obviously that would never happen. But though
Speaker 1: I know, like did the Last Picture Show? There's a
Speaker 1: movie that deals with that kind of transgression, but like, uh,
Speaker 1: think of the MPa, right, if you say fuck once,
Speaker 1: it's PG thirteen. If you say it twice, it's righted R.
Speaker 1: So I guess my point is they're not. It's obviously
Speaker 1: not like a one to one ratio. But those things
Speaker 1: do we zist here in weird ways, and they're constantly
Speaker 1: You'll hear all these stories in the eighties and the
Speaker 1: nineties when NC seventeen got invented, how that became a
Speaker 1: kiss of death, and how many times a movie went
Speaker 1: back and forth with the MPa on just cutting two
Speaker 1: seconds here and two seconds there, and ultimately does that
Speaker 1: really make a difference. Obviously it doesn't, and it's very hypocritical,
Speaker 1: but you know there's always proposed back then, like different
Speaker 1: that it shouldn't be R or PG thirteen, that a
Speaker 1: movie she'd either be for adults or it shouldn't and
Speaker 1: so yeah, I think that's kind of the closest thing
Speaker 1: we have here where it is still puritanical and it
Speaker 1: is still a scandal when you make something NC seventeen
Speaker 1: or rateed R. But I think what draws people do
Speaker 1: those things here is when it's a big actor who
Speaker 1: does it. So halle Berry did Swordfish, she did a
Speaker 1: topless scene very famously got half a million dollars just
Speaker 1: to do that scene. You know, Sharon Stone obviously doing
Speaker 1: the scene in basic instinct where she uncrosses her leg somehow. Wow,
Speaker 1: the lighting was just right for it to be rated
Speaker 1: R instead of NC seventeen. So it's it's very weird. Obviously,
Speaker 1: Japan's got a much bigger the the somehow the extreme
Speaker 1: there and the culture. There's some weird thing where it's
Speaker 1: you're just on both ends of the spectrum in it's
Speaker 1: very intense ways, and here it's not. It's just this
Speaker 1: weird thing of just seeing how far a famous person
Speaker 1: will go before, you know, on screen. Kind of That's
Speaker 1: that's pretty much what it is, because every time here
Speaker 1: something like that breaks, it's always like, also, oh did
Speaker 1: they actually film penetration? You know, there's seat there's movies
Speaker 1: that always have those rumors where supposedly they were actually
Speaker 1: having sex on camera and stuff like that.
Speaker 3: Just not to put two fine a point in it,
Speaker 3: but we're most likely to be talking about a movie
Speaker 3: in twenty twenty six called Lolita Vibrator Torture. So you know,
Speaker 3: they were always pushing things in Japan a little bit.
Speaker 1: Fun for me, true and there's another, there's a there's
Speaker 1: and I'm gonna butcher the title, but there's a Sato title.
Speaker 1: I'm sure they're gonna put out called like man Woman
Speaker 1: horse or something like that, or woman Horse Dog. You'll
Speaker 1: know what you can make of the title, you know.
Speaker 1: But Sato waited in those waters too, even without Naomi Tani. So, like,
Speaker 1: you know, I mean, it's just those things are I guess,
Speaker 1: you know, I don't know too much about pink, but
Speaker 1: in terms of the pink films, that's a funny way
Speaker 1: of saying that. But like, uh, you know, just in
Speaker 1: terms of the puritanical part versus the taboo aspect of it. Obviously,
Speaker 1: I just gave like the wildest example I possibly could
Speaker 1: because I thought that would be the easiest one. But like,
Speaker 1: I think it's here. It is in some ways. I
Speaker 1: think it's just because porn is fully legal, like in
Speaker 1: impenetrative terms, that the it's not based around the actual
Speaker 1: acts so much as it is around the people doing them,
Speaker 1: if that makes sense.
Speaker 2: Hi, Driane, thanks for being here. Okay, So I guess
Speaker 2: let's go through these in the order that they appear
Speaker 2: on the disc real quick. A note that I had
Speaker 2: that I thought was a bit strange how they sort
Speaker 2: of divvy up the uh the discs themselves, because all
Speaker 2: of the movies are on disc one, and then all
Speaker 2: the special features are on disc too, And I'm like,
Speaker 2: it's a little bit counterintuitive. It's a little bit. They've
Speaker 2: done that a couple of times. I mean, I know
Speaker 2: that everything couldn't fit on one discs, but it would
Speaker 2: make more sense to me to just put like two
Speaker 2: on one and then the features and then the third
Speaker 2: one on the other one with its features, I guess.
Speaker 1: But well, that was my initial thought too, But I
Speaker 1: actually was okay with it in this this time because
Speaker 1: I think the films are so short that it's easier
Speaker 1: to just have the films there. That's that's what I thought.
Speaker 1: It Rarely usually it's I'm I'm waring tuned to like
Speaker 1: what you're saying, But for some reason with the specific one,
Speaker 1: I was like much more okay with it.
Speaker 2: Okay, so rewind, how do I Another thing I should
Speaker 2: say right off the jump is I found these films
Speaker 2: to be very difficult to follow. They sort of don't
Speaker 2: follow like typical narrative plot structures, Like the sex scenes
Speaker 2: kind of come out of nowhere, and like typically I'm
Speaker 2: like trying to figure out like, okay, well, I mean,
Speaker 2: well this is here for a reason, this is having
Speaker 2: some kind of narrative purpose or whatever. And I felt
Speaker 2: like it was harder in these Yeah, just kind of
Speaker 2: there apropos of nothing, and then we would be back
Speaker 2: to the story and then we would cut back and forth.
Speaker 4: You know.
Speaker 3: I had that thought, so I had to. I watched
Speaker 3: to Rewind twice because it finished, and I was like,
Speaker 3: what it did? Get it a lot more? The second
Speaker 3: time around, it calmed down. It's almost like watching since
Speaker 3: we're in Japan, it's almost like watching battles without honoring humanity,
Speaker 3: where the first time through you're just like names, families,
Speaker 3: you know, and then the second time you can kind
Speaker 3: of calm down and just like watch the story. That's
Speaker 3: kind of how I felt Unrewind. But it's basically a
Speaker 3: Peeping Tom sort of take on that story, right.
Speaker 1: Yeah, yeah, I found it. I Oh sorry, Celesti. I
Speaker 1: just want to say that. I I you know, when
Speaker 1: it comes to these movies, the I surrender myself to
Speaker 1: them pretty quickly. I don't know if that sounds pretentious,
Speaker 1: but like the way I kind of approach it is.
Speaker 1: I I already kind of know from the jump that
Speaker 1: the visuals like what you're gonna see. It's almost like
Speaker 1: a h because one thing I already knew about Sato
Speaker 1: going into it without knowing much about the films is
Speaker 1: that it's he's a pretty self reflexive filmmaker. So I
Speaker 1: kind of know that, like the visuals automatically, just that
Speaker 1: it's gonna be like metaphor city. Not in a bad way,
Speaker 1: but like that's kind of why. So it's it's funny.
Speaker 1: I I there. It was hard to follow at certain
Speaker 1: points just because there's certain characters that I didn't I
Speaker 1: forgot like what their roles were, like their their jobs
Speaker 1: even but I still when it was over, I I
Speaker 1: don't know, I got it, you know what I mean,
Speaker 1: Like I felt I still felt like the experience like
Speaker 1: I had experienced the movie. I guess that was That
Speaker 1: was my take. So yeah, sorry, go go ahead. Basically,
Speaker 1: what I'm saying is I'm smarter than everybody. I'm just kidding.
Speaker 2: That's true. That's true. I think you gonna lock that in. Yeah,
Speaker 2: I don't know. It's basically about this like snuff film
Speaker 2: that's going around and then there's like a video store
Speaker 2: employee that like gets really into it, and then there's
Speaker 2: like a like a female detective that like wants to
Speaker 2: find out the source of it. And I guess we
Speaker 2: shouldn't spoil these, so I won't say how it ends,
Speaker 2: but I think the way it ends is really bold
Speaker 2: and like really sort of transgressive and kind of aggressive
Speaker 2: towards its audience, and I respect it on those terms.
Speaker 2: But yeah, I think these are very obviously more art
Speaker 2: films than they are like porn films, and but the
Speaker 2: thing is, they still like work within the sort of
Speaker 2: grammar of porn films, so but without the like sort
Speaker 2: of baseline like narrative structure to kind of stitch the
Speaker 2: things together. So it's like, I don't know, it's it's
Speaker 2: I think it's just the sort of thing where like
Speaker 2: something that I'm coming to terms with is like when
Speaker 2: I watch films outside of my usual repertoire. It's like
Speaker 2: I'm used to like watching a slasher or watching as Alla,
Speaker 2: or watching like just a horror movie in general, and
Speaker 2: being like I know exactly what's going on here. I
Speaker 2: know I know what this means, I know what this
Speaker 2: is representing. I know what's likely to happen next. And
Speaker 2: when you watch something that you don't watch as much of,
Speaker 2: like a Western or something like that, and you don't
Speaker 2: have those like same sort of you don't know the
Speaker 2: tropes in and out, so like a lot of the
Speaker 2: unsaid stuff is not translating as well because you're not
Speaker 2: as in it. And these are my very very first
Speaker 2: pink films, So I'm like a little bit frustrated with
Speaker 2: myself because I'm like, I fucking don't understand what's happening
Speaker 2: right now. But it's also like, okay, relax, like this
Speaker 2: is I think it'll get easier the more because it
Speaker 2: sounds like we have a lot to go. I think
Speaker 2: it's the sort of thing where you're gonna get used
Speaker 2: to this sort of vibe in the rhythm and you're
Speaker 2: gonna get on the wavelength. And but yeah, it's like
Speaker 2: double challenge because you just kind of have these like
Speaker 2: it like challenges you to like keep paying full attention
Speaker 2: because you're like watch like a pretty extended sex scene
Speaker 2: and so you're just kind of like checking out a
Speaker 2: little bit, like Okay, we're not dealing with narrative right now,
Speaker 2: and then it'll go back to like really artsy narrative stuff,
Speaker 2: and so it's like making you pay attention the later
Speaker 2: for something like I don't know, there's something about it
Speaker 2: that is challenging in a way that certain, you know,
Speaker 2: other things that I'm accustomed to is not. And it's
Speaker 2: also just so deeply like metaphorical and political and like
Speaker 2: also the images are so arresting and transgressive and like
Speaker 2: intense that you know you're sort of catching up with
Speaker 2: like oh wow, I'm really I'm just like watching this happen. Okay.
Speaker 2: So it's a lot to ask of a viewer in
Speaker 2: like fifty five minutes because these all clock in under
Speaker 2: an hour, which is crazy, or either.
Speaker 3: One of y'all into reading manga at.
Speaker 2: All, not as much as I used to be, But yeah.
Speaker 1: You've had that in your past, so oh I have
Speaker 1: two Yeah, yeah, it's been a long time, but yeah,
Speaker 1: I don't I stopped like years ago.
Speaker 3: I experienced with manga is mostly the movies that have
Speaker 3: come out of it, like Eachy the Killer or like Rikkyo.
Speaker 3: But my understanding of it is that it has a
Speaker 3: lot of the same type of torture and stuff and
Speaker 3: crazy sex like in the adult manga, Like is that fair?
Speaker 3: Like this is common is when I.
Speaker 2: Was a kid, so it was more like the teen
Speaker 2: oriented stuff, but like I would kind of sneak in
Speaker 2: some reading of like some more adult oriented stuff and
Speaker 2: it was kind of like that.
Speaker 1: Yeah, oh yeah, yeah.
Speaker 2: No.
Speaker 1: There was a place I grew up going to that
Speaker 1: had them for sure, and I would just look at
Speaker 1: them at the magazine rack and or like the bookshelf
Speaker 1: because it was a comic book shop that specialized in
Speaker 1: carrying manga, and they absolutely like all the tentacle stuff.
Speaker 1: That's where it started, all that, you know, those kinds
Speaker 1: of things like they that like the hen Tai stuff
Speaker 1: is definitely I know that's I mean, that's that's manga adjacent,
Speaker 1: I guess, but it's they oftentimes there's like overlap with
Speaker 1: a lot of the those things. Just to add to
Speaker 1: your point, Celeste, because I think you're right on the
Speaker 1: money with like how obviously they have to meet a
Speaker 1: contractual requirement of like sex, right, It's like the jol
Speaker 1: Silver rule for action where it has to be every
Speaker 1: eleven minutes. It clearly has to show up every every
Speaker 1: once in a while in a you know, in a
Speaker 1: in a Pinku, and I think, on top of being
Speaker 1: political and obviously having to fulfill a contractual need, it
Speaker 1: also in Sato's case, at least so far, it's very personal.
Speaker 1: I mean, all of these movies are at one point
Speaker 1: or another kind of reference art in some way, shape
Speaker 1: or form. So if it's not referencing movies directly, it's
Speaker 1: referencing video games. We'll get to that in a second,
Speaker 1: obviously with another movie. But if it's not referencing that,
Speaker 1: it's referencing the media. It has something to do with
Speaker 1: the world that that Sato is adjacent to or directly
Speaker 1: involved in, and in this case with this movie, directly
Speaker 1: involved in because it's it's obviously about snuff films, which
Speaker 1: you know are I'm sure people back then and even
Speaker 1: now would still refer to some pinky films, like if
Speaker 1: they don't like him, as snuff films, you know, as
Speaker 1: like a not as an actual snuff film, but just
Speaker 1: as a as a derogatory term towards them. And so
Speaker 1: this clearly is a move, like I would say, and
Speaker 1: I don't use this lightly because I think a lot
Speaker 1: of people do, but I think in the way people
Speaker 1: use Lynchian, I would say this is Verhovian because I
Speaker 1: think he, like Verhoven, implicates himself. I don't think he
Speaker 1: is above the material. I don't think he thinks he's
Speaker 1: above the material. And I think he is very aware
Speaker 1: that there's a push and pull that he's probably getting
Speaker 1: off on some of this, and he also knows that
Speaker 1: it's you know, he's a freak in a good way,
Speaker 1: but also in a bad way.
Speaker 2: Maybe maybe less defensible than he would like.
Speaker 3: It to be.
Speaker 2: Right, Yeah, I kind of agree with you that it's
Speaker 2: not necessarily like a moralizing thing. I think it's more
Speaker 2: of like a question, just like, hey, let's explore this
Speaker 2: for a little bit, like kind of in the way
Speaker 2: the video Drone does it, because I know the Video
Speaker 2: Drone was made explicitly to be like, well, people keep
Speaker 2: telling me that my that my movies are too violent
Speaker 2: and they create violent behaviors and stuff. Let's make a
Speaker 2: movie exploring what that would look like. Right, And this
Speaker 2: is kind of like a cipher flexive kind of like hmmm,
Speaker 2: let's actually self interrogate a little bit here and you know,
Speaker 2: figure out what's going on here and actually explore that
Speaker 2: idea to its logical conclusion. I think there's a lot
Speaker 2: of discomfort in like the project that he's engaged in
Speaker 2: in the text of this film. What else was I
Speaker 2: going to say? I think that's it for right. The second.
Speaker 3: Your point is interesting just in rewind though, because there
Speaker 3: is a lot of that perspective switch about behind the
Speaker 3: camera in front of the camera, and I think the
Speaker 3: theme of like being a voyeur is so strong here
Speaker 3: and how it's like it's so closely tied into the
Speaker 3: sickness behind where the baristrict tendencies, and how closely related
Speaker 3: it is to violence. So I mean what you're saying
Speaker 3: makes a lot of sense comparing it to Verhoven or Cronenberg,
Speaker 3: like these people that are trying to almost like call
Speaker 3: it out our tendency to want to see crazier and
Speaker 3: crazier shit, right Like that's uh, they love to call
Speaker 3: that out. And I think it seems like I don't
Speaker 3: know if that's what Sata was doing here, but I
Speaker 3: could I could certainly listen to that argument.
Speaker 1: Oh, I think it is. It's very it's it's it's
Speaker 1: even more literal. I mean, at one point, you know,
Speaker 1: the camera has a knife attached to it, and there
Speaker 1: was like very a weapon, right, like right, right, yeah,
Speaker 1: which I is a Peeping Tom riff, right if I
Speaker 1: remember correctly, I haven't seen Peeping Tom in a long time.
Speaker 1: But yeah, yeah, so it's and then and then not
Speaker 1: only that, but also without giving anything away, where the
Speaker 1: supposed snuff films are made, it's surrounded by TV. There's
Speaker 1: beautiful shots of just monitors and TVs just everywhere in
Speaker 1: various states of being on and off. I love it.
Speaker 1: And because analog was just kind of like analog video
Speaker 1: was really hitting the whole market hard during that period,
Speaker 1: Sato really does a great job of like using video
Speaker 1: on film and then putting it back into video really
Speaker 1: really creates like a really great like transmission effect. And
Speaker 1: I think because a lot of this is I would
Speaker 1: say a transmission.
Speaker 2: Yeah. I think to circle back to a point you
Speaker 2: made earlier, I think I heard somewhere in the essay
Speaker 2: or in one of the commentaries that for these pink films,
Speaker 2: the contractual obligation was literally like one sex scene per real.
Speaker 2: And when you were talking about four reels, you're talking
Speaker 2: about like up to twenty five percent of the runtime, right,
Speaker 2: And so like when you're talking about a tight script
Speaker 2: sixty minutes and you're talking about four sex scenes, so
Speaker 2: you have to put in there somewhere. It's like, there's
Speaker 2: only so many narrative excuses to get a sex scene
Speaker 2: in your movie, right, And I think that when people
Speaker 2: say that there's too much sexual violence in this like
Speaker 2: and so in this context, I hesitate to even call
Speaker 2: them like sex scenes because I think that rape is
Speaker 2: sort of categorically a different thing, but like in terms
Speaker 2: of what it's accomplishing visually, right and narratively, Like it's
Speaker 2: a way to sort of have both, like have some
Speaker 2: kind of narrative tension, have like something shocking and traumatic,
Speaker 2: while also checking that box for the people paying the bills.
Speaker 2: And then it seems like there's almost like an active
Speaker 2: protest in some of these where it's like, yeah, this
Speaker 2: has nothing to do with the movie, but you're gonna
Speaker 2: sit here and watch it anyway, like like what do
Speaker 2: you want? What do you want me to do? I'm
Speaker 2: going back to my shit after this is done?
Speaker 3: But like here it is, I think, well, yeah, yeah,
Speaker 3: but anyways.
Speaker 1: Yeah, I think because at certain points, obviously he just
Speaker 1: like how much can you do in the movie? Right,
Speaker 1: At a certain point he probably just be like, all right,
Speaker 1: I got a shoe worn this in somewhere, so here
Speaker 1: here it goes right.
Speaker 3: Yeah, I wonder I wish I knew this answer. No,
Speaker 3: there's like Kyoshi Kursawa came from visinem not necessarily pink
Speaker 3: films from home video, and takashimik did. I'm sure, I'm
Speaker 3: sure there's more than I'm forgetting, but there's there's a
Speaker 3: bunch of Japanese filmmakers and Mika even made some pink films.
Speaker 3: But like there's a bunch of these filmmakers that started
Speaker 3: out doing home video and then became theatrical directors, and
Speaker 3: they use this as like a jumping off point. I'm
Speaker 3: curious why I Sato didn't like I wonder if he
Speaker 3: was so comfortable with this really uncomfortable like extreme content.
Speaker 3: I wonder if he was kind of pigeonholed a little
Speaker 3: bit into just like pumping out more of these because
Speaker 3: like some of these movies were I forget that which
Speaker 3: one it was. But his first movie, the name is
Speaker 3: Escaping Me, but he was made for eight million yen
Speaker 3: and it made a hundred million yen, Like he was
Speaker 3: making money, and like I'm sure his you know, the
Speaker 3: Good Life, and these were successful, so it's not like
Speaker 3: he needed award money, I mean, you know or like recognition, recognition,
Speaker 3: but I don't know, he certainly had the skills.
Speaker 2: Yeah, I mean these movies are also made in like
Speaker 2: less than a week. I think as like part of
Speaker 2: the like also sort of either definition or criteria for
Speaker 2: it is like, yeah, these things were shot in like
Speaker 2: four days or something crazy like that, and like.
Speaker 1: Well, yeah, which is why it's so prolific. But also
Speaker 1: I do have a I do think that's a ten
Speaker 1: thousand hours thing where he's probably making so many fucking
Speaker 1: bangers like he's probably doing. But well, the reason I
Speaker 1: think a lot of these are good or because he
Speaker 1: he just he doesn't have time to stop and get
Speaker 1: too precious about them, right, So I think when you
Speaker 1: do that, I think sometimes it is good. Even if
Speaker 1: it's all it can be a little more imperfect. I
Speaker 1: think a lot of times it just you know, because
Speaker 1: regardless you're in an hour, you're gonna get the point,
Speaker 1: you know what I mean, Like you don't have time
Speaker 1: to not get the point, right. So, like I mean,
Speaker 1: which is crazy because I you know, like when you
Speaker 1: watch when you see like Japanese porn. Now some of
Speaker 1: those movies are hours long, and I'm not I'm talking
Speaker 1: about stuff like if you go online you could search scenes.
Speaker 1: They are like three hours just one movie with the
Speaker 1: same actor. God bless them and like the work they
Speaker 1: have to do because they, I mean, they still continue
Speaker 1: to push like the extreme even if it's censored. And
Speaker 1: there's a great interview I don't remember. I think it
Speaker 1: was Asa Kira had On, a very popular Japanese performer
Speaker 1: named Hitomi Tanaka, and they talk a lot about kind
Speaker 1: of the differences of like how the misogyny is embedded.
Speaker 1: But the point being is it's just so funny to
Speaker 1: me that and I implore everybody to check out that
Speaker 1: I'm going based off memory. This interview was from like
Speaker 1: five or six years ago, I think on on on
Speaker 1: the Hub or something, But sorry, I trailed off little.
Speaker 1: But like my point being is that it's funny that
Speaker 1: now how long these things are, that back then it
Speaker 1: was like getting you in and out as soon as possible,
Speaker 1: because at this point this it's not like this market.
Speaker 1: It wasn't like the American market and the movies we're
Speaker 1: going to talk about a little later where they were
Speaker 1: made for people to go into a theater and crank
Speaker 1: one out, and like it's weird when it deviates from
Speaker 1: that formula. These are at home, So you know, he
Speaker 1: could easily just make a film that's very like just
Speaker 1: hot air. It doesn't have to be as personal. That's why.
Speaker 1: Just to bring it back to Chris's point, obviously, yeah,
Speaker 1: he could have played in a different sandbox, but there's
Speaker 1: clearly a choice here, and obviously this movie is an
Speaker 1: interrogation of that choice, because yeah, he probably could have
Speaker 1: gone to do other stuff, but there's he obviously has
Speaker 1: a push and pull with kind of the content and
Speaker 1: what he's doing and how he hey there, obviously he
Speaker 1: likes doing it to some degree, and then obviously there's
Speaker 1: not a shame to it, but like obviously something's also up.
Speaker 3: Yeah.
Speaker 2: I feel like there's two types of creatives where you're
Speaker 2: like just off the top of my head, like like
Speaker 2: a Jonathan Glazer, where you like really have an idea
Speaker 2: that you're like married to and you're gonna see it
Speaker 2: to the last possible end, and so you make a
Speaker 2: project like every ten years or something. And then there's
Speaker 2: like Stephen King who's just like cranking out ideas constantly,
Speaker 2: and if you're like that type of person who has
Speaker 2: like fifty ideas written down and you want to make
Speaker 2: them all, this feels like the perfect format to accomplish that,
Speaker 2: where like you're making a movie a week, literally, Like
Speaker 2: I think it was also like more so than like
Speaker 2: American porn, Like literally all they cared about was that
Speaker 2: the sex scenes were there and everything else is expressly
Speaker 2: up to the director. So like you have like a
Speaker 2: perfect sort of like freedom sandbox, whatever you want to
Speaker 2: call it, to like put in all your political hot
Speaker 2: takes all your like sort of personal demons, whatever the
Speaker 2: case may be, and like exercise it in this way.
Speaker 2: And like if you're just a person who constantly has
Speaker 2: ideas and you can turn a profit because there's like
Speaker 2: crazy sex shit, Like yeah, this is like a perfect
Speaker 2: way to like make a living just trying out, testing out,
Speaker 2: experimenting with different ideas that you have. Like it's a
Speaker 2: really cool format.
Speaker 1: I also just one thing I wanted to say. This
Speaker 1: reminded me a lot of corruption, the Roger Watkins movie.
Speaker 1: I thought of corruption a few times, where it's obviously
Speaker 1: this person who worked, like because corruption is for people
Speaker 1: listening that was like one of Vinegar Syndrome's first well
Speaker 1: I don't know if it was one of their first,
Speaker 1: but it was an early restoration for them of a
Speaker 1: golden age adult title. And it's a very bleak, dark
Speaker 1: film that clearly is a metaphor for like the industry,
Speaker 1: specifically the adult industry. And I think there's something to
Speaker 1: that here as well, where he obviously is talking about
Speaker 1: like the kind of the Mobius strip of making.
Speaker 2: These Yeah, I guess I won't spoil the end of
Speaker 2: this movie, but I like how it kind of m
Speaker 2: It doesn't give you're the audience and out, it doesn't
Speaker 2: really give them a way to sort of externalize this
Speaker 2: or like feel comfortable in that this is an issue
Speaker 2: with somebody else or something like that. Right, it's very
Speaker 2: much like a hey, bring it in, this isn't us
Speaker 2: problems proadjasts and like you can agree with that or
Speaker 2: disagree with that, depending on how you interpret what he's
Speaker 2: trying to say. But I think it's I think it's
Speaker 2: bold to not maybe maybe this this comparison is coming
Speaker 2: to mind because it's been the only thing in my
Speaker 2: mind all week, But it feels similar to like the
Speaker 2: ending of American Psycho and how it like doesn't really
Speaker 2: grant the audience the catharsis that they probably naturally are
Speaker 2: looking for. You know, I recorded a podcast episode on
Speaker 2: American Psycho, so look forward to that. But that's why
Speaker 2: it's been on my mind all week. Okay, do you'll
Speaker 2: have anything else you want to share about this film
Speaker 2: in particular? Or should we move on to lust Mored?
Speaker 2: Probably the most insane movie we're going to talk about today.
Speaker 2: What is it?
Speaker 3: Pleasure Kill?
Speaker 1: Pleasure Kill? Yeah?
Speaker 2: Yeah, Okay, so this is essentially about what the fuck
Speaker 2: is this movie about? Okay, there's there's a there's a
Speaker 2: guy and his mom is doing like science experiments of
Speaker 2: some kind, and his dad died and he's going through
Speaker 2: that pain, I guess, and so he creates a serum
Speaker 2: that translates pain into pleasure, and so, uh, you know,
Speaker 2: clearly without the approval of the ethics board or whatever,
Speaker 2: just sort of puts this into the patients who are
Speaker 2: going through a very different It's like a skincare thing
Speaker 2: or something pretty benign, right, and you can imagine how
Speaker 2: it unfolds from there. You know, if you're a real
Speaker 2: sick freak, if you're a into pain as pleasure. This
Speaker 2: one's for you.
Speaker 1: Yeah. Oh one. I watched this at eight thirty in
Speaker 1: the morning. This and rewind I watched both both at
Speaker 1: eight thirty in the morning. I actually, I take that back.
Speaker 1: All three I watched at eight thirty in the morning
Speaker 1: before breakfast. It became a theme. It's the Sato challenge,
Speaker 1: and I implore all of you to take it it. Yeah.
Speaker 1: I So, first off, there's an awesome video game motif
Speaker 1: that kind of runs through this. It's actually central to
Speaker 1: the plot as well. There's clearly like a commentary on
Speaker 1: people stuck glued to the screen playing video games all
Speaker 1: the time. I guess that's like the the like boomer
Speaker 1: equivalent of like TikTok being glued to like your cell
Speaker 1: phone screen or something. But I write exactly real. Well,
Speaker 1: I so here's here's what blew my mind before I
Speaker 1: get into the actual movie itself. I thought the video
Speaker 1: game was specifically made for the for the movie itself,
Speaker 1: because this has a really cool All of Sato's movies
Speaker 1: have like a cool industrial thing going on, score wise,
Speaker 1: very very similar to to Sukamoto and specifically obviously to Tatsuo,
Speaker 1: and I can only imagine the influence Tatsuo actually had
Speaker 1: on Sato. I actually think there's there's something even though
Speaker 1: some of these actually sorry other way around, some of
Speaker 1: these may have also influenced Sukamoto. I wouldn't be surprised
Speaker 1: because he he has.
Speaker 2: A similar the Toad. But either way, I see that
Speaker 2: connection happening.
Speaker 1: Yeah. Well, this this beat Tatsuo to the Punch by
Speaker 1: about two years. And one thing I'll say is that
Speaker 1: it uses an industrial score really really well. But sorry
Speaker 1: again tangent town there. But uh I thought the video
Speaker 1: game that was central to this story uses the music
Speaker 1: like during the credit sequences, and the music for this
Speaker 1: video game fucking slaps. I'll just start there. But secondly,
Speaker 1: I thought the video game was specifically developed for the movie.
Speaker 1: And it turns out it was a real video game
Speaker 1: called Vallas the Phanfasm Soldier and it never came out
Speaker 1: in America, but it was one of the top selling
Speaker 1: games in Japan that year. It is incredible that he
Speaker 1: cleared that video game for this movie. And if you're
Speaker 1: watching or listening and that doesn't blow your mind, it's
Speaker 1: because you haven't seen the movie yet. If you have
Speaker 1: seen the movie, you'll know it is fucking crazy that
Speaker 1: a Pinku could license a video game, not only a
Speaker 1: video game, but like a top selling video game in
Speaker 1: Japan that year.
Speaker 2: And if it's like if Mario was in the Toolbox
Speaker 2: Murders or something like that.
Speaker 1: A right, right, yeah, yeah, I don't even know what
Speaker 1: a quo or like even in videodrome, like like he
Speaker 1: just like Donkey Kong just it's throwing barrels at James
Speaker 1: Woods and he's coming. Well I don't even know, but anyway, yeah,
Speaker 1: I think this is also exhibit A for what we're
Speaker 1: talking about, which is that you have this really transgressive
Speaker 1: imagery and there's stuff in here that of all the
Speaker 1: three movies, and it even made me squirm, and I
Speaker 1: don't score them very often and stuff, this one really
Speaker 1: had me, Like I made a choice to watch this
Speaker 1: before breakfast, and I had to I had to pay
Speaker 1: the piper when it was time to eat. But I
Speaker 1: all that said, for as transgressive and disgusting as it is,
Speaker 1: I thankfully wasn't eating spaghetti right after this, but or noodles,
Speaker 1: I should say. But it's all in service of a
Speaker 1: lot of the same stuff we're talking about. Cronenberg like
Speaker 1: it it kind of it beats crash to the punch,
Speaker 1: and it reminded me a lot of Able Ferrara's confessional
Speaker 1: style in his movies. I think it really is. And
Speaker 1: by but what I mean by confessional style, it's kind
Speaker 1: of the same thing. I think Able Ferrara in a
Speaker 1: lot of his movies. It's obviously a more he takes
Speaker 1: a more literary approach at times with stuff like the Addiction,
Speaker 1: but like when you have stuff like Miss forty five
Speaker 1: or or even as like like Bad Lieutenant, where it's
Speaker 1: this really transgressive stuff, but it's obviously him working out
Speaker 1: his demons. And so I think this is this is
Speaker 1: that I mean obviously, like it's a movie about a
Speaker 1: teenage boy who's controlling women. That's not that hard to
Speaker 1: take a director directing porn, right, it's the same thing.
Speaker 1: It's the same thing. So I mean, you know, rewind
Speaker 1: it was with the camera here, it's with controlling what
Speaker 1: the you know, making women like sex hungry pain freaks
Speaker 1: who want it, you know. So like I don't know, yeah,
Speaker 1: it just reminds me of all those things.
Speaker 3: I actually think it might be important for because for
Speaker 3: people that haven't seen it, they may be wondering a
Speaker 3: little bit about what we're talking about. So, yeah, and
Speaker 3: you mentioned it, Celeste, and you mentioned the D light.
Speaker 3: But this is a this is a drug. So this
Speaker 3: guy's dad was disbarred from the Medical Association of Japan
Speaker 3: or whatever for doing that at the treatments. We don't
Speaker 3: know for sure that it was the exact same thing,
Speaker 3: but he has this weird respect for his dad, and
Speaker 3: I think he's trying to kind of take like almost
Speaker 3: take on his footsteps. And the mom keeps telling him
Speaker 3: throughout the movie like I'm worried about you, like you're
Speaker 3: doing the same kind of stuff that he was doing,
Speaker 3: and even before she finds out that he was sneaking
Speaker 3: into her tests and putting this sermon. But it turns like,
Speaker 3: just to think about this for a second, because I
Speaker 3: think this is a critical part. It turns pain into pleasure.
Speaker 3: So if you think about that just as a as
Speaker 3: like a thought exercise, what Plato does in this is
Speaker 3: he explores all the different ways that you can start
Speaker 3: to kind of build on that. Right, So they look
Speaker 3: as opposed to looking for better orgasm, so to speak,
Speaker 3: like pleasure side now they only get pleasure from pain.
Speaker 3: So the movie just goes deeper and deeper into hurting
Speaker 3: themselves more and like really difficult stuff to watch because
Speaker 3: not because they're trying to hurt themselves, but because they're
Speaker 3: it feels so good and they have these like physical
Speaker 3: consequences of the pleasure, but they can't stop. They're like
Speaker 3: addicted to this feeling of I don't know if he's
Speaker 3: tweaking oxytocin or dopamine. I don't know what he's tweaking,
Speaker 3: but they can't stop. They're like addicted to it, right,
Speaker 3: and so they just as like it's one of those
Speaker 3: ones where I think the slow bits in the beginning
Speaker 3: another movie I watched twice. You may wonder how, like
Speaker 3: why I did it twice as well?
Speaker 2: I almost if I had one time, I probably would have,
Speaker 2: And I sort of did it with the commentary to
Speaker 2: kind of help me re engage with the material, right,
Speaker 2: But yeah.
Speaker 3: I mean that's exactly it. They're short, but the slow
Speaker 3: parts in the beginning I think really help because it's
Speaker 3: so much as the movie goes into the second half,
Speaker 3: it's just so intense and so uncomfortable that I think
Speaker 3: you need that build up and you need to see
Speaker 3: this awkward kid, like who's not good with women, and
Speaker 3: like he's you need to see all these kind of
Speaker 3: almost like what's that movie austin translation. I'm not comparing
Speaker 3: the two movies, but you know there's those awkward scenes
Speaker 3: with Bill Murray when he just doesn't know what to
Speaker 3: do in the same room as Scarlet Hanson.
Speaker 2: I've actually never seen it.
Speaker 3: Okay, it's exactly like lest one.
Speaker 1: Okay, yeah, yeah, yeah, yeah, it's it's expectation less less
Speaker 1: more than translation. That's it.
Speaker 2: That's what the ranslation perfect double feature.
Speaker 1: Yeah, I I think I think Chris is spot on.
Speaker 1: I think that's right. I think that I just again,
Speaker 1: it's like that self reflexive style there, and obviously he's
Speaker 1: pushing it in a way that we can't even say
Speaker 1: out loud on here, what what you see in there?
Speaker 1: But and that could be more alluring to you.
Speaker 2: I wouldn't want to spoil it for you.
Speaker 1: Right exactly, you know, yeah, you little sick freaks, get
Speaker 1: in there, jump in the waters. The water's warm, filled
Speaker 1: with hot noodles.
Speaker 2: Noodles. All of the essays in this book are really great,
Speaker 2: so prioritize it because it's selling pretty fast. But I
Speaker 2: mean not to fomo you all or whatever, but like,
Speaker 2: if you want to get it, you should prioritize it
Speaker 2: because it's like, I think there's a thousand out of
Speaker 2: four thousand left, which is pretty good for the maleoscene side. Also,
Speaker 2: I think there's a nice irony in the fact that
Speaker 2: I think, by far the most fucked up release of
Speaker 2: this slate is on the vineger syndrome side.
Speaker 1: Yeah, and you can buy it. You can also buy
Speaker 1: it on vinegar syndrome, so I think that's why it's
Speaker 1: moving a lot. Yeah, it's crazy, right, Like these are
Speaker 1: the ones that aren't aren't like categorized as adult titles
Speaker 1: on letterbox and stuff, and yet they're way more like
Speaker 1: I would much.
Speaker 2: I don't know if I should say this, Like like
Speaker 2: I think that these are way less appropriate for like
Speaker 2: a younger audience than just like your standard porno.
Speaker 3: Right.
Speaker 2: Oh, absolutely goes to show you your bizarre like prioritization
Speaker 2: of like sex versus violence in terms of which is
Speaker 2: more taboo and which is more unacceptable. So the booklet's great,
Speaker 2: All three of the essays are great, but I want
Speaker 2: to do especially shout out Torri Potenza. Their essay is
Speaker 2: incredible and it's on this film in particular, and it
Speaker 2: really helped me understand, i mean, what was happening in it.
Speaker 2: But then also like the themes surrounding it. I just
Speaker 2: feel like modern horror movies really get a bad rap
Speaker 2: for like, oh, every single thing is about grief and trauma,
Speaker 2: and like that's true, but like so is this, you know,
Speaker 2: And maybe it's just that they don't outright say it
Speaker 2: that it's like less annoying and like the more classic stuff.
Speaker 2: But I think horror as a genre is kind of
Speaker 2: inherently about trauma, you know. That's just that's just something
Speaker 2: that I've been thinking about a lot.
Speaker 3: Even on the lighter side of things. Gimbadel Toro talks
Speaker 3: a lot about he's always sympathized with the monster, even
Speaker 3: as a kid, because he saw himself as a monster,
Speaker 3: and so like in his movies, you know, he always
Speaker 3: or he was in like universal horror and stuff, he
Speaker 3: was always sympathetic towards the monster. And I think that
Speaker 3: is an interesting thing, like a metaphor for a lot
Speaker 3: of why people dive into horror to begin with.
Speaker 1: Right, Yeah, I agree, although I do think it is
Speaker 1: kind of like I do think it's the golden age
Speaker 1: of being over over literalizing it. I think we live
Speaker 1: in an era where it's just so exhausting. Even even
Speaker 1: Germo del Toro to a fault kind of post shape
Speaker 1: of water has really, I think even fallen a little
Speaker 1: bit to that trap once in a while. But like
Speaker 1: I think, yeah, it's just you're right, because all this
Speaker 1: old stuff is obviously like like you know, in the seventies,
Speaker 1: a lot of it was like post Vietnam stuff and
Speaker 1: family unit stuff, and then in the eighties it became
Speaker 1: about like obviously like like like punishment for like you know,
Speaker 1: not being pure or you know, being like like specifically
Speaker 1: with Slashers. But like you know, uh, yeah, I do
Speaker 1: think that they were also aware that they were a
Speaker 1: lot of it was entertainment first, and a lot of
Speaker 1: it subconsciously or like in ways that because they were
Speaker 1: produced on such like a factory line, feeling sometimes that
Speaker 1: those things were like inherently built in. Now things are
Speaker 1: so postmodern that like you almost have to be ahead
Speaker 1: of the audience addressing it or it just has to
Speaker 1: be so like you know, they it's practically like the
Speaker 1: movie almost comes like with the production company name and
Speaker 1: then the Gerber's baby food symbol right under it because
Speaker 1: they're about.
Speaker 3: To spoothe o you.
Speaker 1: Yeah, it's just it's such problem. So like I don't
Speaker 1: know that that but like you said, it's nothing new.
Speaker 1: Even movies from the eighties sometimes aren't subtle about it.
Speaker 1: But I don't know. Like when fucking Halloween kills, like
Speaker 1: you know, Michael wears the mask but everyone's the monster.
Speaker 1: It's like, oh, please just put my hand in a
Speaker 1: running garbage disposal and just run it. I can't sit
Speaker 1: here and watch this. I need to be in some
Speaker 1: kind of other pain.
Speaker 3: Yeah.
Speaker 2: I think that that part is true, and I think
Speaker 2: it's also like I wonder how much of it is,
Speaker 2: like because these films are a little bit more overt
Speaker 2: about it, like normal people are noticing as opposed to
Speaker 2: like horror people and so like your average like critic
Speaker 2: or movie ego or whatever. It's like, Wow, that one
Speaker 2: was really deep. It was like about trauma and grief
Speaker 2: and stuff. It's like then like people like us are like,
Speaker 2: hey man, where you've been Yeah, yeah, the whole thing.
Speaker 1: Like yeah, well here's oh, actually I really want to
Speaker 1: add something to that. I think the other problem is
Speaker 1: there's a real joylessness to it. And I'm not saying
Speaker 1: obviously horror movies are bleak, but like look at Sato's movies.
Speaker 1: Joy might not sound like the right word, but the
Speaker 1: excitement of filmmaking exists in these movies. He's obviously excited
Speaker 1: by making these movies. I sometimes feel like what you're
Speaker 1: watching now, sometimes they're just so stripped of like any
Speaker 1: sense of like excitement of the person making the movie,
Speaker 1: you know what I mean. Like it's a hard thing
Speaker 1: to describe, but like what I mean is I'm sure
Speaker 1: the person's happy to saying. It just has this joylessness
Speaker 1: to it. And Gregor Rocky's actually called it out, like
Speaker 1: someone asked him if he liked Euphoria and he's like, no,
Speaker 1: the Euphoria is such a joyless show. And I don't
Speaker 1: think he said joyless, but he said something to that
Speaker 1: effect where he's like, this, this show just doesn't seem
Speaker 1: like it's excited to exist, like the filmmakers seems like
Speaker 1: it's any you know. And I think he's right. I
Speaker 1: think Euphoria sucks shit, but that's not really the point here.
Speaker 1: But I just wouldn't take up a chance to not
Speaker 1: disparage it. But I also think, like, would this be
Speaker 1: a good bridge because I actually wanted to talk about
Speaker 1: this in the next movie. I don't know if there's
Speaker 1: anything else you guys wanted to say about.
Speaker 2: Oh, I was waiting for the good transition on it.
Speaker 1: So we're perfect you. So I'll let you introduce the movie,
Speaker 1: just if you want to say what it's what it's called.
Speaker 1: It goes by two titles.
Speaker 2: Yeah, the one on the on the packaging is love
Speaker 2: Letter in the sound, which sounds like a really nice
Speaker 2: sort of yeah it's a film, you know.
Speaker 1: Yeah. It also goes by like pervert ward pera. I
Speaker 1: think that's the better title, being oh, absolutely, yeah, that's
Speaker 1: I think that's what we're all going to get sentenced
Speaker 1: to when it's time, when we all get carted away. Yeah.
Speaker 1: So this is a great example of something like we're
Speaker 1: talking about metaphors. So this movie opens, I actually can sorry,
Speaker 1: you know what, I just realized I didn't have this
Speaker 1: pulled up in terms of Uh, I guess I should
Speaker 1: tell people what it's about because it's so. It's about
Speaker 1: a nurse who is like germophobic and is dealing with
Speaker 1: a patient who has amnesia. She's like treating him and
Speaker 1: people think he's like a serial attacker going around hitting
Speaker 1: people with a metal bat, and like, that's kind of
Speaker 1: all I'll say without giving anything away. But the movie
Speaker 1: opens with.
Speaker 2: The with the understanding of how HRC works, which is.
Speaker 1: Yes, that's that's right. Oh my god, yeah, that's it's
Speaker 1: hard even set that up. Like you'll have to see
Speaker 1: when everyone listening, when you watch the movie, you'll kind
Speaker 1: of get a better idea. But so in the film,
Speaker 1: it immediately opens with an assault scene, like literally, right,
Speaker 1: I think it is ninety seconds into the movie. There's
Speaker 1: like it's like a sexual assault scene, but it happens
Speaker 1: in a print shop, which is like the equivalent of
Speaker 1: like a Kinko's, more like Kinky's. So any sorry I couldn't.
Speaker 1: That's right, That's why they pay me the big bucks, folks.
Speaker 1: That's my mic drop moment. But yeah, so there's ah
Speaker 1: it's she'sn't like she's making copies of something and then
Speaker 1: someone comes up behind a woman starts assaulting her and
Speaker 1: while it's happening, the copy machine keeps running. That's as
Speaker 1: big as a metaphor as it gets of cranking out
Speaker 1: these movies like a sexual assault happening literally over a
Speaker 1: copy machine that keeps copying and copying copy and also
Speaker 1: making this like artful light that's going over the scene
Speaker 1: while it's happening. But that is as literal as it gets.
Speaker 1: But it's still it's so it's such a obviously a
Speaker 1: unique way of expressing that, and it has like such
Speaker 1: it's so spontaneous. It doesn't feel like at any point,
Speaker 1: like I feel like here, if that happened in a movie,
Speaker 1: you'd be getting winked and nudged while it's happening, like
Speaker 1: people would be removing themselves seen in some kind of
Speaker 1: ironic fashion. And there is not a shred of irony
Speaker 1: here to be found or any kind of self awareness
Speaker 1: other than the commentary of obviously what you're seeing and
Speaker 1: what he has to do, which is make copies and
Speaker 1: more copies of these movies because the eventually be honest.
Speaker 2: That didn't pick up on that, But that's exactly right.
Speaker 1: Oh, I told you, folks, smartest guy in the room
Speaker 1: right now. Just kidding, No, I really did. Like as
Speaker 1: soon as I saw that, I was like, holy shit,
Speaker 1: I was genuinely like blown away, because it's not it's
Speaker 1: it's it's very literal, but it's so spontaneous or it's
Speaker 1: so surprising, and I don't know, I just think there's
Speaker 1: I think, uh, you know that it's not postmodern enough
Speaker 1: to be wink wink, nudge nudge about it, or just
Speaker 1: find some way to remove itself, you know, from not
Speaker 1: very meditextual.
Speaker 2: There's another one in my sort of copy Horses, where
Speaker 2: it seems like everybody thinks that horror didn't get self
Speaker 2: referential until Scream came along, and it's like, well, there's
Speaker 2: so many movies that like are like mettextual in this
Speaker 2: way or like even more overtly than this is being
Speaker 2: and like, okay, yes, Scream just like kind of wrote
Speaker 2: it all out for you. But it's definitely not the first.
Speaker 1: One, you know, no, not at all. I mean, if
Speaker 1: you really want to say the first one, I mean,
Speaker 1: you know, obviously Wes Craven's New Nightmare was.
Speaker 2: Like a warm up for Steam, you know.
Speaker 1: Yeah, and and and also in Hell even Friday the Thirteenth,
Speaker 1: Part six, it's more of a parody version of that
Speaker 1: where there's characters breaking the fourth wall, like one one
Speaker 1: guy like literally does like the thing where he's like
Speaker 1: this didn't happen to the other guy kind of thing.
Speaker 1: He literally looks at the camera. I mean it's been Yeah,
Speaker 1: it's definitely not the first time. I think Scream was
Speaker 1: just it was the genre was so dead that it
Speaker 1: was such a like a resuscitator, you know, I.
Speaker 3: Do want to like, I don't know if this is
Speaker 3: the best time to do it, But now that we
Speaker 3: brought up all three movies, there's something like that I
Speaker 3: was thinking about as I was going through this set.
Speaker 3: If you had told me that this was three different directors,
Speaker 3: I would have believed you. Like, I think there's definitely
Speaker 3: themes that are consistent, and like we've talked about some
Speaker 3: of the way that he explores culture and right and
Speaker 3: some of that which is consistent in the way he
Speaker 3: writes maybe, but the visual style of all these is different.
Speaker 3: The way that he I think the way that he
Speaker 3: uses like home Video and rewind Is is different than
Speaker 3: the other movies, right, and like Love Letters in the
Speaker 3: Send has the sort of surrealism moments where she'll she'll
Speaker 3: be like dipping her hand into sand and then the
Speaker 3: scene transitions into some kind of fantasy or her past.
Speaker 3: I think I think it's I don't know, I think
Speaker 3: it's a fantasy, but like, this is the the thing
Speaker 3: I'm most excited about to dig into more of Sato's
Speaker 3: work is I don't think that these three movies were
Speaker 3: really that much the same at all outside of being
Speaker 3: pink films, And I love that about it, Like, that's
Speaker 3: super interesting that he's so versatile in the way that
Speaker 3: maybe Takashi mikay is very versatile. You know, a lot
Speaker 3: of these directors kind of find their style, but to me,
Speaker 3: Sato is somebody that at least three movies in I
Speaker 3: haven't really seen like a certain style from him yet,
Speaker 3: and that's super exciting.
Speaker 2: Yeah. Maybe it's just the sort of ways in which
Speaker 2: I feel like all of these films are kind of
Speaker 2: I mean, the similar run and the similar kind of
Speaker 2: plot structure, and the similar kind of art house surrealist sensibilities.
Speaker 2: Like they definitely felt like three takes on the same
Speaker 2: sort of general concept. I feel like almost. But I
Speaker 2: see what you're saying too, and uh, yeah, I mean
Speaker 2: Broad made like sixty of these, so like there's lots
Speaker 2: to go.
Speaker 1: Yeah, I mean, no, you're I think you're right. I
Speaker 1: think they are different. I think what is very smart
Speaker 1: about this triple feature is they do have like similar
Speaker 1: themes in different executions, right, So, like I think that
Speaker 1: is the really great through line is that they're all
Speaker 1: metitextual takes on. You know, one is through the camera,
Speaker 1: one is through you know, controlling the characters, you know.
Speaker 1: The other is you know, like literally trying to mess
Speaker 1: with like everything from from gender to trauma. But like
Speaker 1: they all deal with that in different aspects. Each movie
Speaker 1: deals with that. So you're right, it's like they're in
Speaker 1: the same building, but different parts of the building. Right,
Speaker 1: It's like the same office, but they're on separate floors,
Speaker 1: and it's a it's a different it's a different department
Speaker 1: and a different supervisor at each one. I don't know
Speaker 1: where the hell that analogy came from, but like that's
Speaker 1: not work.
Speaker 3: Yeah, there's I'm going to get shipped for this, and
Speaker 3: that's fine, I can take it. I was watching a
Speaker 3: bunch of Otsu's movies recently, Yes to Judotsu, and I
Speaker 3: know he's a master and all these things like fine,
Speaker 3: and I did enjoy them, but I saw six movies
Speaker 3: from him that were almost comically the same, like like
Speaker 3: you know, I'm sure you know if you look across
Speaker 3: he's directed one hundred movies. Like, I'm sure his career
Speaker 3: varies a lot. I'm not making a comment on his
Speaker 3: entire filmography, but all the ones that are like Winter, Summer, August, June,
Speaker 3: all those movies business man like. But if you watch
Speaker 3: them close together, it's just literally like the same thing.
Speaker 3: And it's beautifully shot and well acted, but like, you know,
Speaker 3: I just start to feel like I get it. A
Speaker 3: single woman in her thirties is having a hard time
Speaker 3: leaving her parent who's sick, and she's got some tough
Speaker 3: life decisions to make, like I can't do this six
Speaker 3: times in a row.
Speaker 2: And so I like, you're either heard of something or
Speaker 2: this project has broken your brain entirely. It's one of
Speaker 2: those two things.
Speaker 3: It's not so OVERSU that's my point there.
Speaker 1: You go, whoa, that's a statement. Well, we've got it
Speaker 1: on record, let's see. Yeah right right, Well, I mean, hey,
Speaker 1: and that's just this is just volume one. So we got,
Speaker 1: we got, we're Volume two is already here. It's we
Speaker 1: already have him, all three of us had him delivered already.
Speaker 2: So three is coming on the first two.
Speaker 1: So yeah, exactly, Yeah, Well, if I remember correctly from
Speaker 1: the interview with Joe Chris, didn't he say like like
Speaker 1: the first three because that's just what they had cleared
Speaker 1: quicker in terms of like what they could restore. But
Speaker 1: there are other filmmakers coming to that line later in
Speaker 1: the year.
Speaker 2: Yeah, I was wondering how long they were going to
Speaker 2: go with just this guy, and like, I mean, I
Speaker 2: hope there's other stuff. I mean, I like this, but like.
Speaker 1: You know, yeah, it'd be nice. Yeah, well, hey, I'm
Speaker 1: I'm all for it for now, just because this was
Speaker 1: such a strong set that and I'm kind of relieved
Speaker 1: that the second volumes only two movies. I just feel
Speaker 1: less pressure. But I kind of want to keep the
Speaker 1: eight thirty am team going, so I'm going to keep
Speaker 1: watching them.
Speaker 2: First thing, And do you think of the morning on
Speaker 2: the volume two or longer?
Speaker 1: Not by much? Like literally like sixty five minutes, seventy
Speaker 1: one minutes, and yet none of them are sixty nine minutes.
Speaker 1: Why aren't we having fun? Come on, guys, huh, let's
Speaker 1: ato what's going on? Let's get yeah, worst joy I
Speaker 1: keep talking about come on. Yeah.
Speaker 2: I was a big fan of this set. I really
Speaker 2: like challenging myself kind of and like sort of getting
Speaker 2: into new paths and new styles and new scenes and
Speaker 2: all this other stuff. And you know, especially when you're
Speaker 2: talking about Golden age porn, like you know, you can
Speaker 2: expect kind of the same thing a lot of the time.
Speaker 2: Like the Pikarama line, I feel like, is very much
Speaker 2: you know exactly where you're gonna get and this was
Speaker 2: very out there. Uh. And it's nice to have to
Speaker 2: watch stuff and you know, so it can be a
Speaker 2: little bit frustrating or whatever, but it's nice to watch
Speaker 2: something and be like, I don't really I don't have
Speaker 2: any point of reference or any bearings for this. I'm
Speaker 2: just sort of waiting in uncharted waters right now and
Speaker 2: seeing what happens. This third one is the one that
Speaker 2: has to like massage sex scene right at the beginning,
Speaker 2: because that was the one where literally I was like,
Speaker 2: who are these people? Why are they having sex right now?
Speaker 1: Yeah?
Speaker 2: This has nothing to do with what I was just watching.
Speaker 2: Did I mess something like really big or something? Then
Speaker 2: I was like it must make sense when the scene ends,
Speaker 2: and then it didn't. I was like, I don't know,
Speaker 2: still don't know who that is, Still don't know why
Speaker 2: that happened, what's going on? Okay, that's fine.
Speaker 3: Well, like the jump, like the Japanese blood job, and specifically,
Speaker 3: what I mean is that where the where everything stays
Speaker 3: in the pants. That the way that those these movies
Speaker 3: showed it, it was pretty erotic. Like the actual sex
Speaker 3: in these movies I felt was when it was consensual
Speaker 3: and and when it was romantic in nature, which is
Speaker 3: not all of them, but it was pretty erotic actually,
Speaker 3: like I was. I think they they had the pacing right,
Speaker 3: like the actors were good at like you know, seemingly
Speaker 3: wanting to be there, and that part was nice.
Speaker 2: Yeah, they're uh yeah, there's something too working within constraints
Speaker 2: that breeds creativity, right and uh yeah, I think it's
Speaker 2: like it's pretty good.
Speaker 1: Yeah.
Speaker 2: I also just need to give a quick shout out.
Speaker 2: In the first film, I really love how they put
Speaker 2: in the they put in the snuff tape and the
Speaker 2: girl says to her brother, Wow, let's commit incest and
Speaker 2: then they just do it, and it's like sure, why
Speaker 2: not just immediately? Okay. I like how she just says
Speaker 2: it like it is too like let's do this.
Speaker 1: Specific Yeah, it's gonna be quite a theme today with
Speaker 1: the say, isn't the last.
Speaker 2: I feel like about incests on this segment, so I
Speaker 2: don't know.
Speaker 3: Exactly.
Speaker 2: Okay, well that's speaking of an hour and a half later.
Speaker 2: That's one down, So let's go to the next one
Speaker 2: from filmmaker Wes Craven. I've been hearing about this film
Speaker 2: for years. I've been wanting to see it for years.
Speaker 2: It's finally here, Fireworks Woman. I thought this movie was great.
Speaker 2: I really liked it a lot. Not to disparage Bob
Speaker 2: Chin or any of the other classics that we see
Speaker 2: film after film of, but sometimes you get one like
Speaker 2: this where you're like, Okay, yeah, this guy knows how
Speaker 2: to make a fucking movie, and he's just making porn
Speaker 2: this time. You know, like the narrative was there, like
Speaker 2: the the shots were there, the the creativity, every it's
Speaker 2: just it's really good. Like it's a banger. I liked
Speaker 2: this one a lot. It's essentially about a brother and
Speaker 2: sister who realized that they're in love with each other,
Speaker 2: consummate that feeling, and then the brother's like, well, can't
Speaker 2: be doing that, so he becomes a priest and she
Speaker 2: spends the runtime of the film being like hmm, I'm
Speaker 2: gonna veto that and you should be with me instead.
Speaker 2: It just makes various attempts to make him happy and
Speaker 2: change his mind, and this then and the other. A
Speaker 2: lot a lot going on in this one. I've seen
Speaker 2: it claimed that Wes Craven invented incest peorn with this.
Speaker 2: That feels like it can't be true, but maybe I
Speaker 2: could uh posit it to the group. I feel like
Speaker 2: there has to have been something before this that, like,
Speaker 2: if not, just incorporates it, Like is the conceit right?
Speaker 5: Yeah?
Speaker 1: I mean this was made between this was nineteen seventy five,
Speaker 1: and there's a lot of debate to that with regards
Speaker 1: to when he made it because some people thought he
Speaker 1: may have done it before. He obviously did it before
Speaker 1: The Hills Have Eyes, but he did actually do this
Speaker 1: after Last House on the Left, and I can't say, Look,
Speaker 1: I think I have a pretty good knowledge on I
Speaker 1: actually can't think of movies before this that had it.
Speaker 1: But the thing is there were already loop carriers, and
Speaker 1: loops were especially designed to be trans like you know,
Speaker 1: they were fetish. You could literally make whatever you wanted,
Speaker 1: you could pay people and they would make it. So
Speaker 1: maybe it did like create a watershed moment for incestan
Speaker 1: feature lamed porn film, did it did?
Speaker 2: It's just like, that's crazy, that bro transetting this whole career.
Speaker 1: You know, right. But the only reason I don't know
Speaker 1: if I buy that is I feel like the real
Speaker 1: that obviously didn't hit really hard until Around Sunny with
Speaker 1: Candida Royale, which was in nineteen seventy nine, and then
Speaker 1: in nineteen eighty obviously the Taboo series. So that's a
Speaker 1: pretty big gap between those movies. To say that that's
Speaker 1: what influenced it. I don't know that that influenced it,
Speaker 1: and there obviously were other movies in between that that
Speaker 1: had it, But I don't know that it I wouldn't
Speaker 1: say he invented it for sure, But even though I
Speaker 1: don't have enough to back it up, I just yeah,
Speaker 1: I don't know. It's nineteen seventy five. It's not like he,
Speaker 1: you know, porn was already the Golden Age was already
Speaker 1: five years in. I'm sure. I'm sure there's some movie.
Speaker 1: It could even be a lost film.
Speaker 3: No, I'm gonna, oh, sorry, go ahead to this. I'll
Speaker 3: save my point.
Speaker 2: Oh, I was just gonna say that the visual essay
Speaker 2: on this did kind of at least imply that when
Speaker 2: he was tasked to do this, he was like, well,
Speaker 2: what's the most extreme sort of subversive thing I could
Speaker 2: think of to like destroy the family unit, as he
Speaker 2: had done a few times throughout his career on account
Speaker 2: of his fucked up upbringing. That'll do it to you,
Speaker 2: I can tell you that. And he was like, Ooh,
Speaker 2: let's do this. So it doesn't seem like he was
Speaker 2: pulling any direct inspiration from anywhere, and it was just
Speaker 2: kind of like, well, if I'm deconstructing family as a
Speaker 2: concept in American life, let's do this.
Speaker 3: Actually, that's exactly where I was kind of going with
Speaker 3: it too, And I promise I'm going to tie it
Speaker 3: right back around to the movie. But I have a son,
Speaker 3: and the parents right now are engaging in a lot
Speaker 3: of discussions about how they're raising their kids, because like,
Speaker 3: that's a very natural thing to do as your kids
Speaker 3: get older, right, And there's one particular family that's super strict,
Speaker 3: really hard on their kid, on their boy, and I
Speaker 3: would never show them the movie necessarily because they're very puritanical.
Speaker 3: But there is there's a interview on here from one
Speaker 3: of Wes Craven either childhood friends or at least longtime friends.
Speaker 1: No, it was a professional. It was Roy Frumkiss who
Speaker 1: wrote Street Trash. He also worked and porn and he
Speaker 1: they were like they went to college together, I believe,
Speaker 1: and like like and yeah, so I just wanted to
Speaker 1: clear that up.
Speaker 3: Yeah. Perfect. So he basically lays it out right like
Speaker 3: a lot of West Craven's personality and like a lot
Speaker 3: of his the stuff that he makes is because he
Speaker 3: wanted to rebel and like because he just had a
Speaker 3: lot of anger towards his parents, and like I do
Speaker 3: I kind of want.
Speaker 2: Like I might know something about that.
Speaker 3: Way.
Speaker 1: Yeah, yeah, I think I think you're no. I think
Speaker 1: that's so like totally what he's doing. And also what's
Speaker 1: funny about the movie is so just to kind of
Speaker 1: clarify a plot point, the sister isn't just trying to
Speaker 1: like get her brother to leave the priesthood. She also
Speaker 1: is rather than taking like this vow of chastity that
Speaker 1: he takes, she goes the opposite direction. She just starts
Speaker 1: trying everything under the sun. She becomes like a submissive
Speaker 1: for this like controlling couple. At one point, they like make.
Speaker 2: It like their staff at the church and like that, right,
Speaker 2: are like horrific fucking people. I don't know something yeah
Speaker 2: on the social commentary, right y, yep, yep, and uh
Speaker 2: and like you know social in the church, right and
Speaker 2: and so they she keeps going into getting into these
Speaker 2: more like obviously more out there scenarios. And also there's
Speaker 2: like a pretty brutal assault scene and it's interesting. Sorry,
Speaker 2: just to be clear, I don't think the assault scene
Speaker 2: is interesting. What is interesting is.
Speaker 1: He One thing that Craven has always had is this
Speaker 1: weird slapstick humor in his movies. Like even in Nightmare
Speaker 1: on Elm Street, there's an entire segment that plays like
Speaker 1: home Alone, right where she sets all the booby traps
Speaker 1: and the way he gets hit it does it looks funny,
Speaker 1: it plays is funny, and and people under the stairs
Speaker 1: like you just you see that throughout all his films,
Speaker 1: and well actually Last House on the Left had it.
Speaker 1: There's literally like slide whistles playing when the cops show
Speaker 1: up and like start being slapstick morons, and and even
Speaker 1: Last House on the Left has it. So the reason
Speaker 1: I'm saying all of this is that somehow shows up
Speaker 1: in this as well. Before she gets assaulted, there's two
Speaker 1: guys who get in a fight with gigantic fish. They
Speaker 1: start hitting each other with like literally fish.
Speaker 2: You know, when you're like, I'm not saying the assault
Speaker 2: scene is interesting, I'm like, well, I kind of. I'm like,
Speaker 2: I've never yeah, actually it is right interesting.
Speaker 1: It's it's well, I guess it was the verbiage. I
Speaker 1: didn't want people to think, I'm like, the assault is interesting.
Speaker 1: I you know, just the fish fight is hilarious. And
Speaker 1: what's really.
Speaker 2: Incredible fish who makes a cameo yees later and a
Speaker 2: shot that made my jaw drop.
Speaker 1: I'll just say that same here. I even as much
Speaker 1: as we were talking about pinky films and sato that
Speaker 1: this honestly is a pink film moment. Practically it's insane.
Speaker 1: I mean that the fish that assaults somebody that is
Speaker 1: used as a weapon pays off later in a porn scene.
Speaker 1: I'll let you guys obviously will be surprised and no
Speaker 1: need to ruin it for the listener of the viewer.
Speaker 1: But it even ends that scene with the fish at
Speaker 1: the end, ends with the guy looking at the camera
Speaker 1: and winking, which is so funny to me, but yeah,
Speaker 1: like every other like okay, so you know, I've said
Speaker 1: this time and time again, Golden age films are the
Speaker 1: best ones. The ones that have the most staying power
Speaker 1: usually fall into two categories. They're either like really great
Speaker 1: like slapstick comedies, or they're just really bleak, almost anti
Speaker 1: anti porn, and this very much falls in that category,
Speaker 1: very rarely as this erotic. The assault scene has played
Speaker 1: out fairly realistically, like down to seeing even when you
Speaker 1: see the penetration, it's not enjoyable. At no point can
Speaker 1: I picture anybody watching this movie going like on their
Speaker 1: lunch break in their raincoat, sneaking into crank one out
Speaker 1: and being like, yes, this is what I paid to watch.
Speaker 1: I'm gonna I'm gonna blow a load and go back
Speaker 1: to work. At no point does this movie provide that.
Speaker 1: It doesn't provide that release, a literal release. I feel
Speaker 1: like it's you know, there's like one giant orgy scene
Speaker 1: that I felt like he thought he had to He's like,
Speaker 1: maybe this will just give the people what they want.
Speaker 1: But for the most part, it's like really artfully shot.
Speaker 1: There's like just this it's almost it plays like a
Speaker 1: memory piece. It's got this like hazy seaside cinematography, almost
Speaker 1: like just franco ish. And I don't know.
Speaker 2: Just if it really because it's a it's a it's
Speaker 2: not the best print, and so it's not as pristine
Speaker 2: as it could be. I know that they're not super
Speaker 2: happy with like the materials they had. I wondered how
Speaker 2: much or that sort of haziness is due to the
Speaker 2: source material. But regardless, I think it really works.
Speaker 1: Well. Yeah, it wasn't shot on thirty five. I think
Speaker 1: it was shot on sixteen, so it's still gonna have
Speaker 1: that grainy like. I still think a lot of that
Speaker 1: it is because of that. I think with in regards
Speaker 1: to that, it would be more the like not the damage,
Speaker 1: but like the the what's the word I'm looking for.
Speaker 1: I guess my point is though, that it would it
Speaker 1: would still be pretty close to that. I do think
Speaker 1: it would have that even if they went from from
Speaker 1: the negative. It just might be a little sharper, but
Speaker 1: it would still be it would still be soft, and
Speaker 1: I really love that.
Speaker 3: I have a question for y'all something I didn't understand
Speaker 3: in the movie. Maybe I'll can help me. Sure, there's
Speaker 3: a lot of discussion about the woman in the film
Speaker 3: lead having this book into people where they become like
Speaker 3: rabid sexual animals when they get around her. It happens
Speaker 3: in the assault scene, but it also happens later on.
Speaker 3: It just like she has this magnetism that just seems
Speaker 3: to people can't control themselves. Is that ever explained or
Speaker 3: is that just something that's kind of thrown into the movie.
Speaker 3: I couldn't. I was trying to think back of, like
Speaker 3: was there a point this was introduced.
Speaker 2: I My interpretation is that Wes Craven's character, the Fireworks
Speaker 2: man like is the devil and he's like put a
Speaker 2: curse on her such that she d insatiable, and that's
Speaker 2: like why she falls in love with her brother and
Speaker 2: why all these other subsequent things keep happening. I think
Speaker 2: with that framing, I think it becomes a kind of
Speaker 2: a pro incest movie. If I'm being completely honest in that,
Speaker 2: Like the most tender and romantic parts are those parts,
Speaker 2: and it kind of has a happy ending for them.
Speaker 2: And I'm like, I don't know.
Speaker 1: This is bold, this is bold, you know, Well, I'll
Speaker 1: add to that. Yeah, I agree with that wholeheartedly. I
Speaker 1: think that is very spot on. I think the movie is.
Speaker 1: I think it's it's pro like. What I actually think
Speaker 1: the movie is. I think it's just anti everything else
Speaker 1: rather than being pro incest, right, It's just it's just
Speaker 1: anti right. It's it's a great yeah, pro pro and
Speaker 1: pro like obviously, like it's dealing with guilt and repression
Speaker 1: and so it's like, well, guilt and repression are emotions, right,
Speaker 1: and so they can be overcome. There's a great speech
Speaker 1: that that wait, sorry, I want to answer your question
Speaker 1: real quick, Chris, which is that I think it also
Speaker 1: is used obviously as a point of being, like, you know,
Speaker 1: for a man to deal with this, he just joins
Speaker 1: the priesthood and has to become chaste because if not,
Speaker 1: the people see women as these inherent things that men
Speaker 1: fight over and become, you know what I mean. Like,
Speaker 1: I think it's a I think I don't know if
Speaker 1: that's why. I don't know if that's what the devil creates,
Speaker 1: but I think that's part of it. And I'm paraphrasing it,
Speaker 1: but you know, she has a conversation with Wes Craven
Speaker 1: at one point, and by the way, Wes Craven had
Speaker 1: to cast himself last minute. There were supposed to be
Speaker 1: a real Hollywood actor in this part. I forget his name,
Speaker 1: but he dropped out last minute. And like Abel Ferraro
Speaker 1: when he made Nine Lives of a Whit, I don't know,
Speaker 1: can I say, because I might being like, okay, great
Speaker 1: nine Lives of Wet Pussy. He had to cast himself,
Speaker 1: but whereas Able had to perform sexually on camera, West
Speaker 1: didn't have to. And Okay, so the quote is I
Speaker 1: actually pulled it up while we were talking about this,
Speaker 1: But he says, there are no mysteries that can't be untied,
Speaker 1: no fights that can't be one, but it'll cost you something.
Speaker 1: And I think that is both metaphorical for his filmmaking,
Speaker 1: and I think that is also about the cost of happiness,
Speaker 1: and I think that the movie really ultimately explores, like
Speaker 1: what the personal cost of these things are, because you
Speaker 1: can't make a decision without it having some kind of effect,
Speaker 1: whether you want it to or not. Right, impact an
Speaker 1: intent are two different things, and so whatever you do,
Speaker 1: whether it's society that's judging it or that's my take
Speaker 1: on it, I think it's a very beautiful quote. I
Speaker 1: think it's really really and I don't even know if
Speaker 1: he's like maybe quoting from the Bible or something. But yeah,
Speaker 1: I I also think it's very poetic that the and
Speaker 1: this isn't spoiling anything. The last shot of the movie
Speaker 1: is Wes Craven as the Devil looking at the camera
Speaker 1: while smoking and like with a top hat and fading out.
Speaker 1: I think, given that he passed away, I actually thought
Speaker 1: there was like an unintentional emotional resonance to that. But
Speaker 1: it also is just very fitting that it's him being like,
Speaker 1: all right, I'm out, I made my poor Now time
Speaker 1: to go make a mainstream film again.
Speaker 2: Wow. That was good. That was good. I think the movie.
Speaker 2: I think it's really good.
Speaker 1: Yeah, agreed, agreed. I think it's one of Both of
Speaker 1: these are like the best releases from Melu scene like
Speaker 1: of the Year, they're in the top like three Yeah,
Speaker 1: good stuff.
Speaker 3: And Chris Jamie gillis Sighting of the Day.
Speaker 1: Yeah, in a minor role. Believe it or not.
Speaker 2: Man, Yeah, it was in one of the features where
Speaker 2: they were like, Jamie's the guy you call when you
Speaker 2: need a connect for, Like he's like your plug for
Speaker 2: like a bunch of adult actors, and they're like, we
Speaker 2: didn't Orgy call him Jamie and he's like, all right,
Speaker 2: let me round up the crew, which checks out. I
Speaker 2: think I think he's like my most like consistent, like
Speaker 2: he's my favorite male actor in porn, like for sure,
Speaker 2: like whenever he shows up, I'm like, hell yeah, let's go.
Speaker 1: Well, I agree wholeheartedly. He's one of my favorites because
Speaker 1: you know, you're getting someone who's genuinely in the in
Speaker 1: the moment and good actors. He's a good actor.
Speaker 2: He's just a magnetic you know.
Speaker 1: Totally and not actually for one of the films we're
Speaker 1: gonna cover, I really cannot wait to talk about that magnetism.
Speaker 1: But the other thing I really love about him is
Speaker 1: he just you know, obviously he his later life got
Speaker 1: really uh well it's something, but he you know, he's
Speaker 1: like one of the only guys who really was in
Speaker 1: porn because he loved like he when he was wasn't
Speaker 1: making porn, he was still doing some fucking freaky, deeky shit,
Speaker 1: whether it was while he was married to Serena or
Speaker 1: you know, later on. And you know, I would let
Speaker 1: I'll let everyone else google what he was up to
Speaker 1: in the nineties up until his death. But it was
Speaker 1: not pleasant. He got a little achy, but like he nonetheless, yeah,
Speaker 1: he is someone who just he had no illusions about
Speaker 1: what he was making, but he also enjoyed what he
Speaker 1: was making. And so whether whether it's a little too
Speaker 1: sadistic at times, that's obviously for you to decide, but
Speaker 1: like it.
Speaker 2: Yeah, right on, I think that is all my thoughts
Speaker 2: on fireworks woman. Did you guys have anything else? He
Speaker 2: wanted to cap it off with.
Speaker 3: Oh, the first ten minutes, I was like, oh, guy,
Speaker 3: this is gonna be really boring, but he was not boring.
Speaker 3: He got great fast activated.
Speaker 2: All right, Chris, do you want to do want to
Speaker 2: stick it out or do you need to head out?
Speaker 3: Well? Are we doing behind the Green Door tonight or no? Okay,
Speaker 3: and I haven't seen anything else we're going to talk about.
Speaker 3: I think so I'll say thank you so much for
Speaker 3: letting me jump on, and I'll let you to express
Speaker 3: finish off. But I'm really happy to be watching these movies.
Speaker 3: I mean, both of these ones. That's so. I guess
Speaker 3: I would have seen anyways, because they're kind of through
Speaker 3: vinegar syndrome, even though I agree it's weird that they're
Speaker 3: on there, not these other ones. Probably wouldn't have seen
Speaker 3: Fireworks Women without this to Douce, I mean, I don't
Speaker 3: know it or yeah, a lot of the ones that
Speaker 3: we watch I wouldn't have seen and they're great and
Speaker 3: I'm really loving this, so we appreciate it all opening
Speaker 3: my mind and it's crazy to see how much y'all
Speaker 3: know about these. So I'm enjoying listening learning.
Speaker 1: I can't wait. I can't wait to nudge. I can't
Speaker 1: wait to nudge you into watching more.
Speaker 3: Yeah, watch them together.
Speaker 1: Perfect, it's gonna be a great doing.
Speaker 2: Yeah, all right, violation of Claudia. I gotta be honest.
Speaker 2: I don't have a ton to say about these. These
Speaker 2: felt more like standard issue sort of things to me,
Speaker 2: and I mean like they're a little there's something more
Speaker 2: there and that, like I think they are shot really nicely.
Speaker 2: But other than that, uh yeah, I don't know. These
Speaker 2: were also just kind of short and just sort of
Speaker 2: paint by numbers to me. So I don't have a
Speaker 2: ton to say about them other than that I thought
Speaker 2: they were fine, But it sounds like you have a
Speaker 2: lot to say about them, So I'm excited to hear
Speaker 2: what that is.
Speaker 1: Yes, I am very excited, particularly talking about the violation
Speaker 1: of Claudia because so and for people listening Pikarama, this
Speaker 1: is their line obviously because it's a double But you know,
Speaker 1: most Pikorama titles don't have special features very often. You know,
Speaker 1: they might have like a trailer to maybe an interview
Speaker 1: in there, but for the most part they're just the
Speaker 1: movies and at best trailers. This one actually has two commentaries,
Speaker 1: one on each movie with Bill Lustig and Nicholas Winding Refin,
Speaker 1: and they're great conversations because they it's mostly this is
Speaker 1: I think a great because Bill Lustig was like twenty
Speaker 1: one when he made this movie, which is crazy. He
Speaker 1: was like twenty one or twenty He had just finished
Speaker 1: like film school, which is so crazy to me, and
Speaker 1: he shot these back to back. But he talks a
Speaker 1: lot about production in the like in all the people
Speaker 1: like that he worked with and how he got the
Speaker 1: money for it, and Refin was like genuinely an engaging
Speaker 1: interviewer and he you know, he is a patron saint
Speaker 1: of restorations for like stuff like this, not just for
Speaker 1: Bill Lustig stuff. Because they were going to make like
Speaker 1: a maniac cop HBO series together. They had like a
Speaker 1: lot of stuff they were working on, and I've actually
Speaker 1: seen them in person. I went I saw Maniac about
Speaker 1: nine years ago. It was screening here at the American
Speaker 1: Cinema Tech and the interview on stage was Bill Lustig
Speaker 1: and and Refin. But he also, you know, Nicholas finding
Speaker 1: Refin paid for like the restoration of like Ray Dennis
Speaker 1: Steckler movies, the Ormond Family movies that the series that
Speaker 1: did that. I know that he's ye, yeah, Wild Guitar.
Speaker 1: I don't know if he did the whole Ray Dennis
Speaker 1: Steckler set, but Wild Guitar, which is like considered Ray
Speaker 1: Dennis Steckler's most accessible movie, he helped her store that too,
Speaker 1: So I think it's really cool that he helps with
Speaker 1: a lot of this stuff. But and I know those
Speaker 1: commentaries reported from the DVD that Districts put out a
Speaker 1: long time ago but built. But either way, so the
Speaker 1: movie The Violation of Claudia was the was made in
Speaker 1: nineteen seventy seven. It's about a housewife who is very
Speaker 1: wealthy but very bored with her life because her has
Speaker 1: been very busy and doesn't spend much time with her
Speaker 1: and doesn't really pay attention to her and her tennis
Speaker 1: instructor basically starts to become her pimp and like starts
Speaker 1: helping her like become like a prostitute and like do
Speaker 1: sex work. And by the way, the movie is an
Speaker 1: hour and one minute, it's sixty one minutes. It's very short,
Speaker 1: and it's crazy how much gets packed into this into
Speaker 1: this life. But Sharon Mitchell is the lead, she's the housewife,
Speaker 1: and Jamie Gillis is the tennis instructor instructor. And what
Speaker 1: I really like about the movie, first off, it's it
Speaker 1: feels more like it doesn't feel like a hardcore film.
Speaker 1: It feels more like a soft core film, Like it
Speaker 1: has it's it's shot like with very similar to Fireworks Women,
Speaker 1: where it's like very soft lighting, like almost has this
Speaker 1: like gauzy feel to it, like there's an opening dream sequence.
Speaker 1: He says was inspired by Bell du Jour, and which
Speaker 1: is so again why I love this kind of stuff,
Speaker 1: like when you watch Golden Age stuff, because these filmmakers
Speaker 1: were oftentimes not just making adult films. They would go
Speaker 1: make like exploitation films. After a lot of times they
Speaker 1: have the same influences that like a Spielberg would have
Speaker 1: or whatever. And being like, yeah, I saw this Kurosawa
Speaker 1: film and this is the opening is like you know,
Speaker 1: so here it's Beljore, but it's just this very artful
Speaker 1: dream sequence of like Sharon Mitchell being pleased by by
Speaker 1: a group of women. And the I have to say,
Speaker 1: like the attraction between Jamie Gillis and Sharon Mitchell, like
Speaker 1: their chemistry is electric in this movie. Like I'm not
Speaker 1: even talking about a sex scene. I'm talking about like
Speaker 1: just when she first is like playing tennis with him.
Speaker 1: There's just this like body language they use. And then
Speaker 1: they have like lunch together in the cafeteria at the
Speaker 1: tennis court, and like there's a lot of they're saying
Speaker 1: like with their body language and that you normally would
Speaker 1: save for like an erotic thriller or something, And I
Speaker 1: think this movie just makes it a point to be
Speaker 1: like like it really tries to push up the eroticism
Speaker 1: even with it's more taboo elements. At one point, Sharon
Speaker 1: Mitchell is dealing with like a or one of the
Speaker 1: characters I believe it's Sharon Mitchell is dealing with like
Speaker 1: a guy who's not even out of high school yet.
Speaker 1: And you could make those implications in a movie like this,
Speaker 1: I guess in nineteen seventy seven, but it it starts
Speaker 1: to have a concert like I thought. The ending was
Speaker 1: actually looping back around to like a conservative viewpoint on marriage.
Speaker 1: And it has a great final twist and a great
Speaker 1: freeze frame. Oh all the credit.
Speaker 2: Way yeah, okay, okay, okay, okay, it is so the
Speaker 2: ones I watched first and it's been a minute. I
Speaker 2: really will not do not want to spoil the ending
Speaker 2: of this movie. It is an all time it's so.
Speaker 1: It truly is it really is. I cause I was
Speaker 1: looking at my letterbox review and I even wrote I
Speaker 1: normally do not get hung up on star ratings, but
Speaker 1: in this case I did, because I was this was
Speaker 1: just a nice three and a half star movie, and
Speaker 1: that ending bumped it up to a four for me.
Speaker 1: It really truly, for a movie that's an hour long,
Speaker 1: it really does have it all, like it's really incredible.
Speaker 2: So this this was teetering on like it's kind of
Speaker 2: nothing to me, It's fine, like I might get rid
Speaker 2: of this blu ray after the review is done or whatever,
Speaker 2: and then that last shot and I was like, Nope,
Speaker 2: this is a keeper. This is one ever gonna that
Speaker 2: I'm gonna show to people this is a banger.
Speaker 1: And the second film, Hot Honey, I did not like.
Speaker 1: It's just about a woman named Honey who's like a
Speaker 1: virgin and won't put out for her boyfriend and she
Speaker 1: has like a Her brother is also played by Jamie Gillis,
Speaker 1: who's like in a wheelchair, but she has like a
Speaker 1: sexual like she she suddenly has a sexual experience and
Speaker 1: it like awakens her and she becomes really really really horny,
Speaker 1: and it just I don't know it. It obviously is
Speaker 1: the less artistic of the two. It really is just
Speaker 1: like one scene to another of like hardcore. I I
Speaker 1: at the beginning, it opens like in like an arcade
Speaker 1: or like a like a ski ball or something I
Speaker 1: don't remember, Like they're just playing pinball or something, and
Speaker 1: it's like this cool New York, you know, second unit
Speaker 1: photography type thing, and then it's just like one hardcore
Speaker 1: scene after another, and I was personally bored out of
Speaker 1: my mind. I thought this one, I think it's worth
Speaker 1: owning for the violation of Claudia. I do think it's
Speaker 1: truly like that's such a special film. And this is
Speaker 1: kind of the inverse where he clearly you might as
Speaker 1: well filmed everybody counting their money. Like it truly felt
Speaker 1: like it did not feel like the same.
Speaker 2: So that wasn't just me. I was kind of like,
Speaker 2: oh man, I don't remember a single thing about this,
Speaker 2: so yeah, it sounds like you do, but I had
Speaker 2: a similar take.
Speaker 1: Yep. Yeah.
Speaker 2: Another interesting thing about it worth mentioning is just that
Speaker 2: the title the Violation of Claudia, I'm not sure you
Speaker 2: can go. You seem to say it's not accurate. I'm like,
Speaker 2: I think it's a little bit unclear, but it doesn't
Speaker 2: feel like it's accurate, like the title definitely, and like
Speaker 2: knowing who made it, you feel like you're gonna you're
Speaker 2: in for like something nasty, and then it's like not,
Speaker 2: it's like just kind of fun and pretty and nice.
Speaker 1: Like I agree, Yeah, I was surprised. I'm like, for
Speaker 1: a movie called The Violation of Claudia, it truly feels
Speaker 1: like like at no point, even even with the we
Speaker 1: like the weirder scenes in the movie, so to quote,
Speaker 1: I put that in in air quotes. Uh, it's still
Speaker 1: not anything like for considering what movies not just bilustic directed,
Speaker 1: but like that Jamie Gillis and shared Mitchell started really
Speaker 1: truly this. At no point did I feel like Claudia
Speaker 1: was being violated.
Speaker 2: Yeah, maybe for like a second because like when yeah,
Speaker 2: they start their interaction, it's not really like he doesn't
Speaker 2: really ask, but like right when it gets going, it's
Speaker 2: clear that she's not fighting it or anything. So like
Speaker 2: it's a little bit questionable maybe from like a mon
Speaker 2: consent standpoint or whatever, but like that's a good point. Yeah,
Speaker 2: it's not violation, and like the way that you're anticipating
Speaker 2: in something like this, you know, it's just like questionable
Speaker 2: and then it becomes overall like a thing that she's
Speaker 2: clearly consenting to.
Speaker 1: Yeah.
Speaker 2: Yeah, the commentaries, I only had time because I was
Speaker 2: cramming all the special features today. That's been my whole
Speaker 2: day today. I had time to watch half of the
Speaker 2: first one. But it was a good commentary. I enjoyed it,
Speaker 2: So you know, if you're really in the commentaries, like
Speaker 2: for sure, check that shit out. It's pretty good, I think.
Speaker 2: And yeah, I think it's just like when you mentioned
Speaker 2: Belle de Jor. I've not seen that film in particular,
Speaker 2: but like, yeah, okay, this is a guy that like
Speaker 2: likes art movies. And is attempting to make one in
Speaker 2: the confines of what this is and like you can tell,
Speaker 2: you know, and it's something I always appreciate with these things.
Speaker 2: It's like, well, this is the task I've been assigned
Speaker 2: more often than not. A ton of these people went
Speaker 2: in like I'm passionate about making porn. But it's like,
Speaker 2: what kind of where can I sneak the things I
Speaker 2: am passionate about into this project? And I thought that
Speaker 2: was a nice I think you could tell it was.
Speaker 2: It was definitely like thoughtfully crafted, you know.
Speaker 1: Yeah, absolutely, Yeah. It feels more like a like a
Speaker 1: later Gerard Domiado movie at some at some points than
Speaker 1: it does like like Roger Watkins or something where he
Speaker 1: doesn't want to be associated with.
Speaker 2: It for sure. All right, you want to hit up
Speaker 2: the last one?
Speaker 1: Yeah, Oh, I'm excited to talk about this one.
Speaker 2: Me too. I thought that this one was a lot
Speaker 2: of fun. I really liked it. So this is just
Speaker 2: I'm not going to show you the back of the
Speaker 2: slip because well, I can kind of get away with it. Uh,
Speaker 2: here's a front inside Jennifer Wells and then here's a back.
Speaker 2: I kind of flashed it already, but whatever, it's a drawing, okay, YouTube,
Speaker 2: police don't come for me. So Jennifer Wells is one
Speaker 2: of my favorite adult performers just across the board. She
Speaker 2: so gorgeous, but then also like she's so like having
Speaker 2: She's having so much fun in every movie that she's in,
Speaker 2: like she just owns it. And like I think this
Speaker 2: is a co director sort of deal with her and
Speaker 2: Joe Sarno. I don't know how much she actually played
Speaker 2: a role in directing, but she's crab.
Speaker 1: She did she didn't direct at all. She didn't direct
Speaker 1: at all, like just the yeah, she she just it's
Speaker 1: kind of like the point of the credit, but it
Speaker 1: fits with what the movie is. And to be honest,
Speaker 1: I don't think Joe Sarno is heartbroken over it either.
Speaker 2: It still though it feels like she's in charge of it.
Speaker 2: You know, as you're watching it, it's like this is
Speaker 2: my project and like maybe you'll do the job of directing,
Speaker 2: but like you know, it's all about me. Yeah, and
Speaker 2: we're doing my thing here, you know, and like yeah, essentially, okay,
Speaker 2: So all it is is just like Jennifer Wells gets
Speaker 2: in a cab and they're driving around New York City
Speaker 2: and at various points in this journey she's like, ah,
Speaker 2: that reminds me of this one time, and we see
Speaker 2: this one time and it's just fun. I liked it
Speaker 2: a lot.
Speaker 1: Yeah, it's okay. So just to kind of so people know,
Speaker 1: if a movie starts with the word inside, if it's inside,
Speaker 1: Jennifer Wells Inside, Deep, Inside, Anny, Sprinkle, Inside, Little Orally
Speaker 1: any that's that's a series, and they're mostly wall to
Speaker 1: wall sex films. They very they they will find the
Speaker 1: flimsiest excuse for a plot, and they all use the
Speaker 1: same music. By the way, there's a song that kind
Speaker 1: of plays like this little keyboard esque weird alien and
Speaker 1: sound that plays like during the sex scenes that like it,
Speaker 1: like it almost has that kind of like like this
Speaker 1: weird but they use it in all of the Inside movies,
Speaker 1: and it's the characters kind of breaking the fourth wall
Speaker 1: in certain ways. In this one not so much. It's
Speaker 1: more voiceover, but in like the any the Anti Sprinkle one,
Speaker 1: which I highly recommend, and the Inside Little or Anyone,
Speaker 1: which I do not recommend, they break the fourth wall.
Speaker 1: They look at the camera directly and they talk about
Speaker 1: different things that they like supposedly, and it's obviously tailored
Speaker 1: to probably I think deep inside Andy Sprinkle does sell
Speaker 1: it a lot better. She does. I have a feeling
Speaker 1: half the stuff there she does like. But inside Jennifer
Speaker 1: Wells is so it's a yeah. So it's a showcase
Speaker 1: for these actors. They're pretty much in every scene. And
Speaker 1: the production company I think it was Cavalleiro Video. I
Speaker 1: know it was like this was a quality X release,
Speaker 1: but I could be wrong, but I think this one
Speaker 1: was also, Yeah, it is okay. So they paid a
Speaker 1: lot of money to these actors to be in the
Speaker 1: movie and put their name on it, and so it's
Speaker 1: obviously mixed results, but I think this one, yeah, I
Speaker 1: think it's great. I think because here's something we were
Speaker 1: kind of talking about off Mike before we started recording
Speaker 1: with Chris, which was that, you know, during the seventies
Speaker 1: into the eighties, as long as especially male talent and
Speaker 1: born could perform, that was enough. What they looked like
Speaker 1: truly didn't matter. And and also age was dealt with
Speaker 1: a lot differently. Georgina Spelvin, Jennifer Wells like these actors
Speaker 1: started at a much later age and Jennifer Wells didn't technically,
Speaker 1: I think.
Speaker 2: In the The Reality Report podcast, which I re listened
Speaker 2: to because it's included as an extra, she said that
Speaker 2: she was thirty five when she was first cast, and
Speaker 2: I'm like, that's actually like kind of inspirational, like do
Speaker 2: something this subversive in this cool that late. Like I
Speaker 2: know that thirty five is not old, but like especially
Speaker 2: in like any sort of creative field, there's like this
Speaker 2: sort of vibe that like it's a young person's game,
Speaker 2: you know, and like to just be this awesome like
Speaker 2: at thirty five and just like do this is like
Speaker 2: I don't know, I found it really inspirational and really cool.
Speaker 1: And milf porn didn't exist yet, so like this isn't
Speaker 1: marketed as her being a milf or like a woman
Speaker 1: of a certain age that is not at all brought up.
Speaker 1: And same thing with Georgina Spelvin, Like when she did
Speaker 1: Devil Miss Jones, I believe she was around the same
Speaker 1: age she was already, and funnily enough, what they both
Speaker 1: have in common is they both started in sexploitation, So
Speaker 1: Jennifer Wells obviously wasn't afraid to get naked prior to this.
Speaker 1: She started hardcore pretty late, like this was seventy seven eight,
Speaker 1: and she started I want to say, around seventy four
Speaker 1: or seventy five, and she had already been doing sexploitation
Speaker 1: and in Distrip Picks put out Career Bed and Sex
Speaker 1: by Advertisement earlier in the year in February. That's technically
Speaker 1: Jennifer Wells is the leading Career Bed and Georgina Spelvin
Speaker 1: is kind of like the narrator in Sex by Advertisement.
Speaker 1: But those were a full ten years before this movie,
Speaker 1: so Jennifer Wells was not like a stranger to nudity
Speaker 1: at all. But what I love about the film is
Speaker 1: you obviously get some great New York photography, but yeah,
Speaker 1: she totally owns it. And let me tell you, for
Speaker 1: an inside movie, as short as her career was, this,
Speaker 1: the scenes that and the scenario she does in this
Speaker 1: movie are like career spanning. Like what I mean by
Speaker 1: that is when people start porn, they usually start by
Speaker 1: just doing hardcore scenes and then eventually they work up
Speaker 1: to like two girl, two guys and a girl, or
Speaker 1: two girls and a guy, and eventually the gangbangs and
Speaker 1: you know all that kind of stuff. This movie literally
Speaker 1: charts that same course to every type of fetish. So
Speaker 1: like she's like, as she's driving around one place, she's like, oh, yeah,
Speaker 1: I was really I really wanted a hairy guy. So
Speaker 1: there's a guy that's which, by the way, they're all hairy.
Speaker 1: Every guy is Harry in this movie. But there's one
Speaker 1: guy who just because he has a beard and long hair, really.
Speaker 2: Long, he's like a metal guy. He's got like a
Speaker 2: leather jacket all stuff, and so like he's got yeah
Speaker 2: that's true.
Speaker 1: You know. And then right, that's true. Yeah, he does
Speaker 1: have a swag and to be honest, and then after that,
Speaker 1: she you know, at one point she's like, oh, I
Speaker 1: also like big boys. And you know there's like, uh,
Speaker 1: there's a guy she visits that's uh, we'll say a
Speaker 1: little bit big boned. Yeah, he's a fat guy.
Speaker 2: That's a scene I wanted to talk about because I
Speaker 2: actually really liked it because like, fat phobia is something
Speaker 2: that has been on my mind a lot the past
Speaker 2: year or so, and just how pervasive it is. And
Speaker 2: I don't feel like they're weird about it or they
Speaker 2: fetishize it or anything. It's just like, you know, what,
Speaker 2: fat guys are hot, and so I wanted to fuck
Speaker 2: a hack I wanted to fuck a fat guy. And
Speaker 2: then he's just like, hell, yeah, let's go. And there's
Speaker 2: like a really kind of funny like maybe it's a
Speaker 2: little bit offensive, but I like the way that the
Speaker 2: scene ends.
Speaker 1: Oh I do too, actually know that she's just like.
Speaker 2: But like, you know, as far as like a porn
Speaker 2: from the seventies, like making the scene about fatness, Like
Speaker 2: I thought it was pretty good and like the bar
Speaker 2: is very low, but like I thought it was pretty good.
Speaker 1: Do you know who that is, by the way, right
Speaker 1: the guy? I don't, Oh, it's a car Stevens, who
Speaker 1: went on to direct a few movies on the Pikorama line,
Speaker 1: Roller Babies and Mount of Venus. He directed. He not
Speaker 1: great films by any means, but I've like, I have
Speaker 1: such a back catalog to get through from their Blu
Speaker 1: rays and I remember even back when I saw those
Speaker 1: before I started buying Pikoramas again, I was not crazy
Speaker 1: about it, but either film, but like, yeah, it's just
Speaker 1: cool that it's also like someone who works in the business.
Speaker 1: And and then from there, wait, there's a scene before that. Okay,
Speaker 1: we need to talk about this scene as well. This
Speaker 1: is what a good sport she is and how hilariously
Speaker 1: committed she was to the bit because I don't know
Speaker 1: you could see this all as like, I don't know,
Speaker 1: there's some of it. Like there's a scene again I
Speaker 1: don't know if inner racial was even a thing at
Speaker 1: that point, but like, you know, there's a scene where
Speaker 1: she's where she is with a woman and then in
Speaker 1: the when they finish, she's like, what's wrong. She's like, well,
Speaker 1: I just need a dick, and Gilbert I was messed
Speaker 1: up his last name. I think it's palm pummonteer comes
Speaker 1: in and has sex with her. But again that's another
Speaker 1: thing where like I say, like in you know, that's
Speaker 1: a currency now in porn, like you work your way
Speaker 1: up to interracial because that's where you kind of want
Speaker 1: your value to go up, so to speak. And in
Speaker 1: this movie, she just she does that scene and again
Speaker 1: I don't even know if that was even like a
Speaker 1: controversial thing at that point or if this was still
Speaker 1: like post free love. But before that, there's a scene
Speaker 1: where she goes to she they pass a movie theater
Speaker 1: and she's like, oh, yeah, I remember that theater. I
Speaker 1: had a thing with a projectionist. So a movie of
Speaker 1: hers is playing on screen, and the projectionist, who's kind
Speaker 1: of like implied to be like a drunk even though
Speaker 1: he could still get it up, starts watching from the
Speaker 1: projection booth her scene and starts drinking off and she
Speaker 1: walks in and he's sitting there and it's by the way,
Speaker 1: it's it's r. Bola, who I always forget his real name.
Speaker 1: But he's like, it's amazing this guy had a career
Speaker 1: in porn because he's like just the like a guy
Speaker 1: you would not think anybody would look at and be like, well,
Speaker 1: there's a hunk and a half, you know what I mean, Like,
Speaker 1: it's so funny. This guy always has like incredible scenes.
Speaker 1: But anyway, he he turns around, he's like, oh my god,
Speaker 1: it's Jennifer Wells. And then she joins him and they start.
Speaker 1: She goes down on him, and while she's going down
Speaker 1: on him, you can hear the movie in the background,
Speaker 1: and it's her. It's just audio of her saying more
Speaker 1: more men, give me more dicks, give me more dicks,
Speaker 1: and and she finishes pleasing all the men, and she's like,
Speaker 1: I forget the name of it, but she's like, bring
Speaker 1: bring the horse.
Speaker 2: The horse's name Blackie.
Speaker 1: It's that's right, it was black but not at all,
Speaker 1: not at all. But yeah, that's even funnier that I
Speaker 1: forgot it because that is boy. Well that's a choice.
Speaker 1: But uh, she she's it's implied while she's blowing this
Speaker 1: guy that she's like taking on a horse, like the
Speaker 1: guys are helping her take gone this horse, and she's
Speaker 1: like screening like, oh, yes, you're my favorite. And it's
Speaker 1: obviously like she has such a good sense of humor
Speaker 1: about herself to actually do like adr for that scene
Speaker 1: to to you know what I mean.
Speaker 2: The thing that I was gonna ask because I was
Speaker 2: not sure if these inside series were just like clip
Speaker 2: shows to just kind of like repackage existing scenes that
Speaker 2: maybe they couldn't fit into other movies or something like that.
Speaker 2: It seems like these were all shot for this movie,
Speaker 2: and so I was like, is there a different movie
Speaker 2: where she fucks a horse, because that's crazy? And I
Speaker 2: was like, no, that can't be right. And so what
Speaker 2: I was picturing is that she's just fucking a guy
Speaker 2: with such a big dick that she calls him a
Speaker 2: horse and then he makes a nighing sound and like
Speaker 2: that's the joke, but it seems like it's entirely that
Speaker 2: it's it's the former, but it's in adr so that
Speaker 2: it's like they can go as extreme as they want
Speaker 2: because it's just the sounds or whatever.
Speaker 1: Right, Well, okay, so yes, you're right, this was shot
Speaker 1: all it like in the moment it was okay, so
Speaker 1: not in the moment. Sorry, I got What I meant
Speaker 1: to say was, yeah, it was shot for this movie specifically,
Speaker 1: as was Deep Inside Any Sprinkle. However, the the Inside
Speaker 1: Little Oral Anni movies, which was also Little Ora An
Speaker 1: He Takes Manhattan. Those two were were not clip shows,
Speaker 1: but they were very clearly they just shot a bunch
Speaker 1: of scenes and split them between two movies. They're so
Speaker 1: it's so obvious, and so yeah, this absolutely was something
Speaker 1: they made for the movie, like this was the everything
Speaker 1: before this, nothing was if it was, I'm happy to
Speaker 1: be wrong, but not that I'm aware of. So very
Speaker 1: it's very, very very cool that that she actually like
Speaker 1: was just willing to have so much fun with it,
Speaker 1: you know, I think that's great, Like she has such
Speaker 1: a good sense of humor about herself. But also she's
Speaker 1: so beautiful, like just just but so electric. And so
Speaker 1: now that we've covered that scene, we get to the
Speaker 1: climax of the movie. No pun intended, but she obviously
Speaker 1: it can culminate in only one way, which is a
Speaker 1: bunch of guys having dinner is thank you, Diana. Sorry,
Speaker 1: there's a very funny comment that got place that may
Speaker 1: or may not be from someone I know. And the
Speaker 1: second to last scene is a bunch of men at
Speaker 1: dinner and she is the main course. She basically pleases
Speaker 1: like seven guys because that was like her dream and
Speaker 1: her dream comes true. And then this is the only
Speaker 1: weird thing in the movie that was very very strange
Speaker 1: that I think even as just I guess a sign
Speaker 1: of the times.
Speaker 2: Then this wasn't great.
Speaker 1: All the servers that are working at this dinner party,
Speaker 1: who are all Asian, that part's very important. She then
Speaker 1: lets them all have a go around with her, and
Speaker 1: while it's happening, there is like this weird stereotypical Asian
Speaker 1: song playing like it's just like no, no, no, you
Speaker 1: know that kind of stuff, just real. It's really weird.
Speaker 1: And also clearly, with the exception of one guy, I
Speaker 1: think none of those guys were professional actors. I think
Speaker 1: they're all like amateur guys. I could be wrong, but
Speaker 1: I didn't get the vibe that a lot of those
Speaker 1: guys because they were not they weren't good performers. They
Speaker 1: like got the job done, but they barely got it done.
Speaker 1: So yeah, but then it kind of like it doesn't
Speaker 1: exactly redeem itself. But there's then a shot of her
Speaker 1: laying naked with all the guys kind of surrounding her,
Speaker 1: and this text comes up that says that this is
Speaker 1: all this all actually did have happened. She had sex
Speaker 1: with seventy three guys in one night, and that this
Speaker 1: is this is adapted from her memoirs, which is a
Speaker 1: very funny, tongue in cheek kind of like, just, yeah,
Speaker 1: it doesn't fully redeem the scene that just happened, yes, exactly,
Speaker 1: And uh yeah, I.
Speaker 2: Want to circle back to the lesbian scene real quick,
Speaker 2: because I really liked the other performer. I thought she
Speaker 2: was great. She's like has this very dark like lesbian haircut,
Speaker 2: like tattoos, she's got the like laborous necklace on. I'm like,
Speaker 2: this is my type going on right here, Like this
Speaker 2: is somebody I be friends with in real life, for sure.
Speaker 2: She's like that she's like, I didn't regret a second
Speaker 2: of this. I wasn't sure about it, but it was amazing.
Speaker 2: And then at the end she's like, how'd you like that?
Speaker 2: And she's like, well, yeah, it was nice, but I
Speaker 2: need a dick, you know what I'm saying. And so
Speaker 2: for a second I was like, oh, that's a bummer.
Speaker 2: You gotta you gotta be weird about it. But then
Speaker 2: she was just like, yeah, that checks out, all right,
Speaker 2: and she brings in the guy and it's like here
Speaker 2: you go, and then she and it's like a communal thing.
Speaker 1: I don't know.
Speaker 2: I thought it was nice. It was like we're all
Speaker 2: just gonna say what we want and everybody wins. And
Speaker 2: I thought it was a nice scene with like a
Speaker 2: very like clear like lesbian represented without being too weird
Speaker 2: about it, you know, like the exception of like naming
Speaker 2: the horse Blackie and then this like weird Chinese scene
Speaker 2: at the end. Like you know, there's a lot of scenes,
Speaker 2: so your miles may vary, but there was parts of
Speaker 2: this that were more progressive or felt less gross than
Speaker 2: I think the average person tasked with doing this would
Speaker 2: have made it.
Speaker 1: You know, I agree, yeah, wholeheartedly. I think well, because,
Speaker 1: like I said, the Inside series is just basically wall
Speaker 1: to wall sex, and it does give people what they
Speaker 1: paid for. But how they close line that is what
Speaker 1: makes for breaks these films and so this and Deep
Speaker 1: Inside Any Sprinkle, I think both have great clothes lines,
Speaker 1: great New York photography, just great time capsule stuff and
Speaker 1: they're just both very convincing. I think I think for
Speaker 1: Annie sprinklet's because she is she she lives her truth
Speaker 1: when it comes to kink and sex. You know, she's
Speaker 1: still actively involved to this day in that. And I
Speaker 1: think Jennifer Wells is kind of the inverse. She's just
Speaker 1: a great She just has this showmanship. She's just so
Speaker 1: so so magnetic and so beautiful and it's it's actually,
Speaker 1: I think, quite a great note. While the movie doesn't
Speaker 1: end on a good note, I think the movie itself
Speaker 1: is a good because this is the last film she did.
Speaker 1: She very abruptly retired because she married like a rich
Speaker 1: fan and divorced him, probably hustled him, and you know what,
Speaker 1: more power to her.
Speaker 2: Wow.
Speaker 1: And that's a bit.
Speaker 2: Sadder than that she left her oh partner of like
Speaker 2: seventeen years, because like he was less stable financially and
Speaker 2: he was like a traveling musician and like this rich
Speaker 2: guy was like, yo, your set if you marry me,
Speaker 2: but you leave everybody know, you come live with me.
Speaker 2: You stop it with the acting because you're just mine now.
Speaker 2: And she made a very strategic financial decision and was
Speaker 2: with him until he died, I think, but like her
Speaker 2: previous partner died and she was like, yeah, I regretted
Speaker 2: that every single day since then, Like I shouldn't have
Speaker 2: done that, Like I miss him, and like I kind
Speaker 2: of sold my soul to like be comfortable. So it's sad,
Speaker 2: but like it is a nice way to go out
Speaker 2: for like a short lived but very impactful career, you know.
Speaker 1: Yeah, absolutely, especially because the you know, I one of
Speaker 1: the few Pikorama doubles I missed was the the one
Speaker 1: from last year, which was just like little Orphan Sammy
Speaker 1: and I forget what the other one was called.
Speaker 2: But I know that's the first title I reviewed on
Speaker 2: the segment.
Speaker 1: Oh oh very cool. Oh I actually remember that now. Yeah,
Speaker 1: because you said it was like really only for real
Speaker 1: heads only, Like it's not something that people should like
Speaker 1: seek out if they want because it's fun. They're just
Speaker 1: in fact.
Speaker 2: Yeah, it's just sort of getting started with this. So
Speaker 2: I was like, there's not too much here, but in retrospect,
Speaker 2: I think there's a lot of stuff there that's fun.
Speaker 2: I think you would like it in particular, so I think.
Speaker 1: Oh, okay, then I'll check it out. Done, Okay, cool, Cool.
Speaker 1: That's good to know because I wasn't sure like it.
Speaker 1: Just it seemed like a weaker double. So I'll next
Speaker 1: when they have the Valentine sale, I'll pick it up.
Speaker 1: But yeah, okay, so now we have to talk about
Speaker 1: one more thing in the special features. This thing it
Speaker 1: is essential.
Speaker 2: It's a short film though does not exist on letterbox
Speaker 2: right now, but I added it to the TMDb database
Speaker 2: and I sent Letterbox an email, so hopefully I'll be
Speaker 2: able to log it soon. What is the name?
Speaker 3: Is it?
Speaker 1: Ball? Box box ball? No box ball? Mm hmm okay,
Speaker 1: so if people listening, it's CBT. It's a CBT. It's
Speaker 1: what is now known as CBT, which stands for cockingball torture.
Speaker 2: Cognitive behavioral therapy.
Speaker 1: Yes, yes, which you're gonna need after you see this.
Speaker 1: And it uh, it's a short film of a couple
Speaker 1: and she just loves this woman who sounds like a
Speaker 1: fifty year old chainsmoker, is obsessed with balls and her
Speaker 1: partner when they're having sex, she does all sorts of
Speaker 1: things to his balls, twisting them any way you can imagine,
Speaker 1: as many times as you can imagine, and eventually fitting
Speaker 1: them in with his dick inside of her. And she
Speaker 1: ends it with saying, hey, if if you, if you
Speaker 1: have a guy with big balls, why don't you tell
Speaker 1: him to give me a call? And it has to
Speaker 1: be seen to be believed how she tortures this guy
Speaker 1: because the it's I don't even know if it's torture,
Speaker 1: but when it cuts to it, yeah.
Speaker 2: Almost like medically unsound at a certain point where I'm
Speaker 2: like what.
Speaker 1: When And it cuts to his face at a certain point,
Speaker 1: and the face that he makes is just incredible because
Speaker 1: it's just like he clearly at a certain point has
Speaker 1: clocked out. So this is a feature you could watch
Speaker 1: on the Blu ray. I did not watch it on
Speaker 1: the Blu ray. I was lucky enough about two and
Speaker 1: a half years ago to see this short on thirty
Speaker 1: five millimeter. It screened, so Phil, the programmer at the
Speaker 1: New Beverly, gave Joe Rubin a night of Vinegar Syndrome
Speaker 1: night sort of of two adult features. He showed Farewell
Speaker 1: Scarlet and Kitty's Pleasure Palace, which I don't think to
Speaker 1: this day has a Blu ray release. It's a very
Speaker 1: it's oh, I yeah, and it's really fun with the crowd.
Speaker 1: It's really fun with the crowd. But he put box
Speaker 1: Ball in front of Farewell Scarlet and it was sold
Speaker 1: out and the audience was losing their minds. It was
Speaker 1: an incredible collect experienced there truly is nothing like it
Speaker 1: you had And I was.
Speaker 2: Like, all right, what is what am I in for?
Speaker 2: And I was like, okay, yeah, this is pretty incredible.
Speaker 2: But to see as a surprise, that's like, I don't.
Speaker 1: Know, yeah on celluloid no less like I can't obviously
Speaker 1: like when this back in its day when it was made,
Speaker 1: I'm sure it made the rounds in some capacity on
Speaker 1: like loops, but the fact that someone blew this up
Speaker 1: to thirty five and put it somewhere is just kind
Speaker 1: of incredible. So it's amazing. I'm so grateful that he
Speaker 1: put that included that with the with the two movies.
Speaker 1: But yeah, I even say it to my letterbox review
Speaker 1: just on that short a loan. You need to get
Speaker 1: this Blu ray. But no, I think it's a it's
Speaker 1: a very worthwhile Blu ray. It's packed with features, it's
Speaker 1: a super fun movie and and and it also just
Speaker 1: has this incredible short that is it should be. It
Speaker 1: should be viewed with a crowd. It'd be like, get
Speaker 1: some friends, be like, all right, guys, I'm gonna watch
Speaker 1: sneak get.
Speaker 2: Into a movie marathon and just let that happen. Yeah,
Speaker 2: this is a When I started it, I was like, okay,
Speaker 2: so it's a short film, presumably she's in it. And
Speaker 2: then I was like starting I was like, that's not
Speaker 2: Jennifer Wells. When is she going to show up? And
Speaker 2: it never happens And I was like okay, So I
Speaker 2: looked it up and apparently this was something that was
Speaker 2: played before inside Jennifer Wells, like on its cretical run,
Speaker 2: and that's why it's Yeah, so that's cool for like
Speaker 2: historical posterity, but also it's just it's a thing worth preserving.
Speaker 1: I think, oh one thousand percent. And for people wondering
Speaker 1: when I'm saying what the couple looks like, it's it
Speaker 1: looks more like a couple that would be out of
Speaker 1: like Batpussy m hm. So if anyone knows that movie
Speaker 1: that kind of it almost looks like regional, Like it's
Speaker 1: crazy to think that like somehow this this got looped
Speaker 1: in with with like a very relatively classy affair. By comparison,
Speaker 1: I will.
Speaker 2: Say she wasn't wrong. His balls are huge and like, yeah,
Speaker 2: it was impressive, so.
Speaker 1: Right, and the fact that she got them in there,
Speaker 1: it's like this must have been like a traveling show
Speaker 1: or something at like sex club at like strip clubs
Speaker 1: or something.
Speaker 2: Well, on that note, I think that's everything. Yeah, there's
Speaker 2: a booklet in here that I didn't get a chance
Speaker 2: to read all of it, but I read some of
Speaker 2: it and it's by Ashley West, so that means, without fail,
Speaker 2: it's worth reading. Get it for sure it should be
Speaker 2: on the standard edition because it's just a booklet, which
Speaker 2: is nice for my shelf space and my my I
Speaker 2: don't feel the need to instigate FOMO by being like, yeah,
Speaker 2: I got this limited editions a great essay like it's
Speaker 2: just in there. I'm probably gonna hang up that fireworks
Speaker 2: woman poster yes in my house, and let that be
Speaker 2: a barometer for who is cool enough to hang out
Speaker 2: with me, and uh's that's it. I think smaller crowds
Speaker 2: and I but that's okay. I had a lot of
Speaker 2: fun doing this, and I want to thank you for
Speaker 2: your time. We've been here for two and a half hours,
Speaker 2: so yeah, I appreciate it.
Speaker 1: No, thank you, Celesta. This is always a blast. I'm
Speaker 1: always down to talk the mill you see inside of
Speaker 1: the equation when it comes to ultification.
Speaker 2: Maybe not live, but we might have to record a
Speaker 2: conversation for November because it's so intimidating and like, it's
Speaker 2: a lot and I think that it would make for
Speaker 2: a fruitful conversation.
Speaker 1: Oh. I agree, And let's bring Chris back for some
Speaker 1: of it too, because I think, you know, he actually
Speaker 1: watched Behind the Green Door, but there's more Sato and
Speaker 1: there's more like Also, I'm so hyped even if the
Speaker 1: movies don't impress, I'm very hyped to talk about the
Speaker 1: distrip picks double and finally a Jess Franco Porno, which
Speaker 1: is like, you know, they're not all very good, but
Speaker 1: this one supposedly is. I actually this is a blind
Speaker 1: spot for me, so I'm like really really so I
Speaker 1: totally would be down for a November chat.
Speaker 2: Let's do it, you know what, And like, also, I'm
Speaker 2: going to be doing the Kannie release too, I think
Speaker 2: and I think, And before we started recording, Chris was like, oh,
Speaker 2: I wish we were talking about this tonight, so you
Speaker 2: know what, we might do another another three way for
Speaker 2: November and just do it pre recorded.
Speaker 1: Yeah, good watch. I forgot. I forgot that that was
Speaker 1: in my That was in my November box. It was
Speaker 1: such a tall order included the Center Park.
Speaker 2: Very cute and charming, which is not something I typically
Speaker 2: expect from the know you've seen side of things, but
Speaker 2: especially not overtly a porn because like that usually means
Speaker 2: it's like got some more transgressive sexual elements in it
Speaker 2: or something. But I don't know. I guess we'll see.
Speaker 2: But that's what y'all have to look forward to for
Speaker 2: next time. I can't guarantee when it'll be out because
Speaker 2: it is, I mean, truly an establishing stack that I
Speaker 2: have to get through and I only have but I
Speaker 2: do have multiple jobs and a social life and I
Speaker 2: can't just be watching porn all day like I did today.
Speaker 1: We'll see, and hey, in congrats on the the the
Speaker 1: new wave the announcement. Thank you for that. Very cool,
Speaker 1: very cool, Thank you.
Speaker 2: I really appreciate that. There's more on the way. I
Speaker 2: can't reveal anything, but there's definitely more to come. So
Speaker 2: we're out here doing the thing. Professional critic officially. Hell yeah, congrats,
Speaker 2: Thank you all right, thanks you'all for being here. Thank you,
Speaker 2: and I'll see you next week.
Speaker 4: What's up, Supernatural super fans.
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