Retro Teen Porno Film
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Read More About:
Jillian Mueller,
Keola Racela,
SXSW Film Festival
‘Porno’: Film Review
Reviewed online, San Francisco, March 7, 2019. (In SXSW Film Festival — competing.) Running time: 98 MIN.
Production:
An Evoke presentation. (Int'l sales: Cinetic, New York.) Producers: Chris Cole, Sarah Seulki Oh. Executive producers: Christopher H. Cole, Matt Black, Laurence Vannicelli.
Crew:
Director: Keola Racela. Screenplay: Matt Black, Laurence Vannicelli. Camera (color, widescreen, HD): John Wakayama Carey. Editor: Racela. Music: Carla Patullo.
With:
Evan Daves, Larry Saperstein, Jillian Mueller, Glenn Stott, Robbie Tann, Peter Reznikoff, Bill Phillips, Katelyn Pearce.
Music By:
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Small-town cinema staff unleash a demonic spirit from an old film can in this uneven comedy-horror.
One of the more amusing promotions in the history of exploitation cinema was for Jess Franco’s sexy-arty 1967 “Necronomicon.” In the U.S., it was released as “Succubus,” but the distributor claimed that title was too shocking for publication, so newspaper ads included a phone number that could be called to hear the lascivious-sounding word (and its definition). That self-imposed hurdle pales next to the one filmmakers have handed themselves with “Porno,” a comedy horror that despite its XXX moniker (and some gore) mostly plays like a retro teen mall-flick fantasy in the spirit of “The Lost Boys” or “Gremlins.”
Keola Racela ’s film gets off to an amusingly self-aware start as youthful staff at an early 1990s movie house inadvertently summon up a real succubus hungry for their bodies and souls. Unfortunately, “Porno” gets more uneven as it goes on, with a somewhat slack midsection and a mix of earnestness, broad comedy, titillation, and moralizing that neither fully gels, nor makes something unpredictably wild out of those clashing elements. A bit of editorial tightening could brighten what’s likely to be a streaming future.
A mandatory prayer circle at the beginning of their shift suggests some mission higher than showing “A League of Their Own” and Pauly Shore vehicle “Encino Man” for the employees of a small-town cinema in 1992. Afterward, prissy Mr. Pike (Bill Phillips) leaves the place in the hands of Goth-styled Chastity ( Jillian Mueller ), newly appointed to assistant manager. She’s to supervise a combative “straight-edge” projectionist known as Heavy Metal Jeff (Robbie Tann); mischievous Abe (Evan Daves), who frequently drags guileless Todd (Larry Saperstein) into trouble; and fellow high schooler Ricky (Glenn Stott), Chaz’s crush object, just back from a mysterious summer sojourn at some corrective “camp.”
When things wind down for the evening, the crew discover a disheveled old coot (Peter Reznikoff) roaming the premises. He runs amok before disappearing into a hitherto unknown, hidden doorway. It leads to a secret additional theater whose less-than-suitable-for-children fare is suggested by such vintage posters as “10 Foot Hole, 10 Foot Pole.” The indigent man is nowhere to be found there, but among other weird errata, the staff find a musty old film can of 35mm reels and decide to thread ’em up.
What they see is the highlight of “Porno”: A nice replica of Kenneth Anger-ish occult psychedelia circa 1970. It mostly just puzzles the viewers, who being good Christian youth in a pre-internet age have no idea whether it’s supposed to be a “dirty movie” or an arty one. Of course. playing the film unleashes the onscreen succubus (Katelyn Pearce), who then preys on each person’s desires to steal their souls.
Though there’s a fair amount of nudity here (mostly Pearce’s), “Porno” is fairly juvenile in its “ewww” attitude towards sex, leaning more toward crude humor than anything overtly arousing. Lamberto Bava’s 1985 Italian hit “Demons” is recalled in premise (trapped in a theater by an evil movie) and some visual aspects (lots of Argento-style colored lighting gels). But its high energy is missed in a film whose midsection loses some momentum, and whose climaxes are just OK. Matt Black and Laurence Vannicelli’s screenplay could use some sharpened verbal wit, while the violence — notably some genital-mutilation gore — is neither funny nor scary enough to seem more than just gratuitous given the jokey overall tone. Likewise, the film takes the characters’ Christian beliefs just seriously enough to douse the initial edge of satire, yet not seriously enough to have any emotional resonance,
Performances are competent, though Tann is given perhaps a little too much leeway for a turn less comically inspired than the director or actor seem to think. Effects work, some deliberately on the cheesy side, is decent enough, while overall design and technical aspects are polished within the bounds of a little (if complicated) interior setting. Carla Patullo’s score is a nicely poker-faced channeling of fantasy-action soundtrack tropes from a generation ago.
There’s an amiability of intent and execution that keeps “Porno” watchable. But at the same time, its somewhat harmless tenor keeps the lid on a concept that would be much more memorable if it took its various sacred and profane elements further — in any or all directions.
Being a teenager is hard enough, but once the hormones start raging, all bets are off. These films will help you get through it (or remember it semi-fondly).
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Risky and risqué, indie films have always been a home for bold, honest, and controversial visions of teens’ sexuality . Eliza Hittman’s “ Beach Rats ,” opening this week after bowing at Sundance in January, is another notch in the belt of the sub-genre, a sensitive and often shocking look inside the coming-of-age of a young Brooklyn teen.
Like the best of these films, it’s not all about hormones; it builds on questions about identity and desire. But that’s there too, in sensitively crafted scenes that don’t skimp on reality. Punctuated by some bad choices and an unnerving final act, “Beach Rats” embraces the full spectrum of teen sexuality, even when it’s not exactly alluring.
Here are eight indie films that engage with the subject matter in appropriately intimate ways.
While “Beach Rats” isn’t an official sequel to Hittman’s previous film, “It Felt Like Love,” the filmmaker explores similar themes and structures and both, told from seemingly opposite vantage points. Set during another languorous Brooklyn summer, Hittman’s debut follows 14-year-old Lila (a fearless Gina Piersanti), awkwardly and constantly exposed to the sexual exploits of her older friend Chiara (Giovanna Salimeni), who goes through boyfriends and experiences with the kind of ease that Lila can scarcely imagine. Lila’s desire to be, well, desirable , finds her fixating on a local boy Sammy (Ronen Rubinstein) with a reputation, whom she doggedly pursues in hopes of striking up a relationship. Lila’s emotional immaturity constantly butts up against her deep physical desires, leading her into increasingly fraught situations she’s not equipped to handle. Like “Beach Rats,” Hittman slowly spoons out important revelations, but its the smallest details that hurt — and hit — the most.
Abdellatif Kechiche’s rigorously erotic three-hour romance initially spawned Cannes walkouts before picking up the Palme d’Or, split three ways between Kechiche and his stars Adele Exarchopoulos and Lea Seydoux, proof of the level of dedication all three of them poured into a wild (read: maybe even nightmarish) shoot. While “Blue” earned big buzz because of the obvious — its long-form sex scenes, alternately hot and totally exhausting — that only obscures the finer points that Kechiche and his ladies put on the ill-fated romance between Adele and Emma. Hormonally speaking, it’s essential that the film opens when Exarchopoulos’ Adele is still slogging through high school, all burning desires and deep boredom, the perfect time for her to meet and fall obsessively in love with the slightly older Emma. There’s no love quite like the first, and while Adele’s awakening isn’t just about sex, but also her sexuality, that her most formative of experiences comes at the hands of another woman is simply one facet of a highly relatable love story. Sure, audiences may still flock to the film for its unbridled sex sequences, but there’s no scene more telling than Adele, stuffing her sauce-stained face full of spaghetti, bursting with new desires that have to be redirected somewhere .
Awkward, horny teens eager for sexual satisfaction are hardly underrepresented in the entertainment world — hello, sex comedies — but films that center on teenage girls and their kinkiest desires are still outliers. Jannicke Systad Jacobsen’s Norwegian festival favorite doesn’t shy away from showing off just how gross, weird, and yes, horny as hell girls can be, too, all filtered through the experience of indomitable Alma (Helene Bergsholm). When the film opens, Alma’s sexual awakening is already chugging right along, though it’s about as tragically amusing as it gets, punctuated by routine calls to a phone sex line and a mother who just doesn’t get it. Alma’s life gets both worse and better when a popular peer pokes her with his penis at a casual gathering (romance!), and she refuses to let him live it down, alternately turned out and a little freaked out. Her isolation grows (turns out, high school kids are awful), but her libido won’t be tamed — a strange mix that adds up to a risky, funny feature topped off by some big truths.
Dee Rees’ lauded feature debut (based on her short of the same name) is a revelatory look inside the fraught coming-of-age of Brooklyn teen Alike (Adepero Oduye), as she conceals her sexual desires — and, in many ways, her entire identity — as outside forces push her to be honest about what she wants. That’s a hard enough concept for even the most well-adjusted of teens to face, but for Alike, trapped by a restrictive family and pushed to conceal everything from her wardrobe to her taste in music, it feels nearly impossible. Rees peppers in moments of Alike embracing her true feelings, brief flashes of freedom that hint at who she could be if she didn’t need to hide, but they also live alongside nerve-wracking reveals that drive home just how trapped she is. For Alike, her sexual awakening comes hand and hand with her personal growth, and neither will be the same by the film’s moving conclusion. She is not running, she is choosing.
David Wnendt’s 2013 German drama goes there. And also there, there, and there, right around there, over there, and down there. If there’s an orifice for leading lady Carla Juri to probe in pursuit of pleasure (and maybe even some pain), she’s going to do it. Possibly also with a vegetable. The most out-there, oh-wow coming-of-age story of the century, a movie that makes the pie-loving of “American Pie” look embarrassingly infantile and “Blue Is the Warmest Color” seem suitable for family consumption, “Wetlands” is a riot of sounds and sights that run the gamut between dreamy and nightmarish. But for all its gross-out humor, “Wetlands” also packs an emotional punch, all of it hinging on Juri’s wild-eyed work as the wholly unique Helen, on the cusp of the rest of her life (and super-horny for it).
Marielle Heller’s 2015 Sundance hit “The Diary of a Teenage Girl” is not your average coming-of-age story. Based on Phoebe Gloeckner’s graphic novel 2002 “The Diary of a Teenage Girl: An Account in Words and Pictures,” the film bravely and brazenly turns its taboo subject matter — the sexual awakening of a teenage girl — into a funny, smart, and honest story that entertains as much as it educates. Bel Powley stars as Minnie Goetze, a precocious 15-year-old muddling her way through the swinging scene of seventies-era San Francisco. Like many girls her age, Minnie is struggling to find her place in the world, a journey made all the more difficult by her seemingly unstoppable hormones. As Minnie taps into her burgeoning sexual desires, her life takes a turn — straight into the arms of Monroe (Alexander Skarsgard), her mother’s boyfriend. Heller deftly navigates questions of consent and issues of age, and Minnie makes it clear that she’s making her own decisions, even if they’re probably bad ones.
James Ponsoldt’s 2013 adaptation of the Tim Tharp novel of the same name (beautifully written for the screen by Scott Neustadter and Michael H. Weber) has often been hailed for its sensitive depiction of addiction and its fresh spin on the classic teen romance, but it also takes on sexual awakening in a moving way. Inexperienced Aimee (Shailene Woodley) is seemingly no match for the confident Sutter (Miles Teller), but when the pair fall into a hazy relationship, she bravely embraces the possibility that they could have something real. Inevitably, that includes Aimee losing her virginity to Sutter, in an achingly real sequence that sees Woodley assuming control and guiding the pair into one of the most relatable and emotional love scenes in recent memory. That it also handily deals with issues of consent and doesn’t try to be salacious just for the hell of it makes it even better, and further illustrates the different ways in which both Aimee and Sutter are coming into themselves, with sexuality as just one face of that maturation.
Tucked inside Julia Ducournau’s midnight movie, a visceral, challenging, and often jaw-dropping genre feature about cannibalism, is a tasty treat of a coming-of-age tale. The film follows a young student (Garance Marillier) who discovers some uncomfortable truths about herself (and the world) when she heads off to vet school (kind of the perfect setting for a body horror film), most of them centered on her evolving relationship with meat. All kinds of meat . Initially restrained and severely buttoned up, Marillier’s Justine eventually takes a bite out of her burgeoning desires when a weirdo school tradition activates her hunger in a myriad of ways. Ostensibly a horror movie with bite, Justine’s journey from vegetarian to meat-lover also mirrors her descent into the desire for other kinds of flesh. A parable and a straightforward chiller in one bloody package.
Love all these films but wish mine made the list too -“Toe to Toe”, premiered at Sundance 2009, distributed by Strand.
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https://www.indiewire.com/2017/08/indie-movies-about-teen-sexuality-1201867597/
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