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The New Porn: How Female Filmmakers Are Reinventing Adult Cinema

'Come Fly with Me' directed by Erika Lust, starring Carolina Abril as the as a 'badass' female pilot and Luke Hotrod as the 'nervous' passenger

'Be a Hero' directed by Erika Lust, starring Anneke Necro

Erika Lust, center, with her DOP Thaís Català, left, and assistant camerawoman, Nonna Serra, pictured filming 'I'm Obsessed with Owen Gray' last month

'La Reine des Culottes' directed by Erika Lust, starring Julia Roca and Mickey Mod

'Meow Kittens Orgy' directed by Erika Lust, starring Julia Roca, Anneke Necro, Eris Maximo and Amber Nevada
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"It's heterosexual, middle-aged white men who have these fantasies with boobs and ass. You know the ones, they love their cars and their drinks." This, says Barcelona-based director Erika Lust , is who is behind the majority of today's mainstream porn. "They cast the same kind of very young women with very slim bodies and large breasts. They might have different hair colors, but more or less it's the same kind of women, over and over again."
Lust, who debuted her first adult indie short film, The Good Girl , in 2004 while studying political sciences, feminism and gender studies, considers mass-produced porn to be boring at best, misogynistic at worst. "Ugly", "tacky", and "horrible" are just some of the adjectives she ascribes to the genre, which has long been a vehicle for, as Lust puts it, the gaze of narrow-minded men.
Now on a crusade to shake up the pornography industry for good, Lust is in the process of gathering a global community of female adult filmmakers who are more concerned with cinematic value than gratuitous sex scenes—and who are interested in one simple idea: films driven by a female character. "These women want to make films where the woman's pleasure is important; they want to show diversity in casting, and they want to work for an ethical production process."
Last October, XConfessions , a members-only site run by Lust, announced it would fund 10 female filmmakers with a €250,000 grant, allowing them to create alternative, independent films about female sexuality—a revolt against the male-centric content offered on sites like PornHub, one of the top 50 websites in the U.S. by traffic. "It's about telling their visions, their experiences, their sensations, their fantasies, and their adventures," says Lust.
For Olympe de G , a 33-year-old Parisian filmmaker who directed a film for Lust last year, making porn authorizes her own—and other women's—sexual desires, pulsions and needs. "I'm very angry to see how women continue to be sexually repressed, still nowadays," says Olympe, whose real name is Barbara. She remembers being labeled a slut ("salope in French") when she was 13 after kissing two boys at a high school party. "It would have made me popular had I not been a girl," she concedes, adding that she was often told to "behave like a woman should" during her teen years, something that exasperated her to the point of deciding to make her own porn. Rather than hide behind the camera, Olympe wrote, directed and starred in her first explicit film. "I wanted to show proudly the beauty of sex, and how right it is. Sex is not something a woman should ever be shamed for."
Lust's own foray into porn began in college with her then-boyfriend. Together, they experimented with a few clips from a free porn site, but what she saw had the opposite intended effect. "Instead of feeling turned on, it started a lot of complicated questions," she recalls. "The main character was always a man; it was about his sexuality. The woman's job was just to get him turned on and to give him sex. Very few times was it about her: her sexuality, her desire, and what she wanted." When Lust released The Good Girl during grad school in Barcelona, she sought to create something she felt comfortable with, where the actors connected over "this whole idea of women and female gaze." It became an instant hit, racking up two million downloads in two months. Emails poured in with requests for her to make more. "I understood, 'Oh, it's not only about me, there are people who really want something different.'" Perhaps, she thought, porn could become bonafide career; one that would enable her to "really make a small impact on the world." Thirteen years later, after directing three multi-award winning erotic films ( Five Hot Stories for Her , Life Love Lust and Cabaret Desire ), Lust's adult independent cinema empire includes XConfessions, which boasts 100,000 members, and Erotic Films, an on-demand site featuring an array of different adult indie film directors.
Elevating porn's aesthetic value isn't Lust's only focus, either. With adult videos accounting for nearly one third of today's internet traffic—and with 87 percent of young men and 31 percent of young women watching pornography—its influence and impact is inescapable. Lust is very aware of the responsibility she shoulders. "Pornography is more important than it was many years ago," she admits. "It used to be a genre some richer men looked at sometimes, but today it's mass media, and a lot of young people who don't have the privilege to live in a place where sex is part of their education, or whose parents won't teach them about sex, they're turning to the internet to learn about sex, and they're ending up in all these horrible mainstream porn sites which show images that are violent and chauvinistic. Many of them are extremely racist and homophobic. That's not the kind of value I want my daughters to see and to learn about sex from."
Senator Mae Beavers of Tennessee agrees. Last month, the Republican politician reintroduced a resolution initially filed last year to formally declare pornography "a public health crisis." The resolution does not cite a source, but states that porn has led to "low self-esteem and eating disorders, an increase in problematic sexual activity at younger ages, and an increased desire to engage in risky sexual behavior as young adolescents." Beavers did not respond to a request for comment, leaving it unclear as to whether her stance would shift in the face of Lust's attempt to create what Dr. Ian Kerner , psychotherapist and sexuality counselor, describes as ethical porn.
"Female directors are really leading and galvanizing and actively participating in the ethical porn movement," explains Dr. Kerner, who specializes in sex therapy. "Websites where there's a whole lot of porn for free, is focused on body parts and sex acts; it's much more objectified and somewhat dehumanizing in the chase for eyeballs and advertising revenues." Conversely, ethical porn, he says, tends to be porn that users pay for, where the films prioritize storytelling and diverse casting with an emphasis on an emotional exchange. Indeed, Lust, who describes sex as more than just the technical interchange between two bodies, champions its emotional impact, citing connection, intimacy, and learning how to relate sexually to another person as important in both sex education and her films. The problem, she says, is when people ( 36 per cent of whom use pornography to get tips or ideas, according to a study by Barna ) learn about sex through sites like PornHub. "Young women, they will think that it's only about pleasing men."
In an effort to combat child pornography (the National Center for Missing and Exploited Children , which helps to identify and locate children in pornography, reviewed 17.3 million images and videos of suspected child pornography in 2011 alone), ethical porn—where a filmmaker's name and production company is always attached to the final product—also means there is often more safeguards on set. "We know the actors are of age and want to be there and have input into the script—they are not asked to do anything that they're uncomfortable with," says Dr. Kerner. The most striking thing about working with an all-female crew, says Lust, is the respectful and positive ambiance on set. "When we work with actors, it's so much about having them feel comfortable," she says, adding that the casting process is especially important. "I always try to work with people who desire each other. You can't hide it if two people who are not really into each other, it doesn't look good. So I tend ask all my actors and actresses with whom they would like to work. It's about giving them that security, really." Actors frequently complain that producers and directors don't respect them, and are often left in the dark as to what they will be filming, explains Lust. "Even while shooting, people are coming up to them, pressuring them into doing things they don't want to do, and that very, very difficult. When you're in front of the camera with the whole crew around you, you're in a very vulnerable situation." Lust's approach is to give the actors, who are subject to health tests at least two weeks before shooting, as much information about the filming process prior to walking on set. "You talk to them about what kind of sex are they supposed to have, who will be involved when. You ask them, do they want to use a condom? Do they have any allergies? Is there a kind of lubricant they prefer?"
The difference also lies in who is operating the camera, Lust reveals. "When I have men behind the camera, I have so much more footage of the women, of the actresses, of their body, of their breasts, what he felt was sexy. When I have a women behind the camera, my footage is much more equal." Rather than simply "seeing the woman and then the man's cock," Lust is interested in capturing the reactions of her actors in different sexual situations. "I want to see him. I want to see his face. I want to try to imagine what he's thinking. I want to feel it, and I want to see if he's doing something to her, then I want to see her reaction."
Lust also created the grant for XConfessions to help women navigate the traditionally testosterone-filled industry—together. "When you are in a crew with a lot of women, we have a whole different kind of communication and language. It's so much easier to understand other women," she admits. Men, she says, tend to take up a large amount of physical and emotional space. "It's amazing, they have some kind of natural instinct where they can hold their hands up and just talk. They believe they have all of these good ideas, and when there's many men, women don't communicate as well. They don't talk, they d
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