![]() To the film's credit there actually is a plot, or an attempt at a plot, including a very funny punch line. The subplot focuses on a sleazy producer (Mike Nike) who hooks up, in every sense of the word, with a lousy singer who likes to talk about her Kitty Kat. Most of the sex scenes are hot, but you don't have to wait for them to enjoy the movie. They aren't just actors awkwardly speaking in between rutting. Most refreshing about her relationships in the film is they seem like actual relationships, with downtime, laughter, conversations, as well as sex. Helping her in these efforts are her very patient manager/lover (Matt Dalpiaz) and a showbiz reporter (Leah Livingston). Cherry is well-played by the appealing Kaylani Lei. The basic plot focuses on Cherry Pop, a pop/rock star who has a block no amount of random sexual encounters can help. It's more of a comedy than a thriller, and unlike most soft porn comedies, it's not forced or over reliant on innuendo last amusing when spoken by Benny Hill. Fortunately this is a much better film than I'd expected. Her skin is enough.I barely paid attention to this the first few times it aired on the various late night channels with a title as generic as "Naked Lust," I expected another formulaic "thriller" where the bad implants and line readings were more frightening than anything else. In the same way, in Michèle Lamy’s work, I see no longing for a body that society would consider radicallyĭifferent, which, in fact, would have been worthy of being shown and displayed. The bodies they might have had in another life, the one before. The paintings of Alice Neel, Maria Lassnig, or the works of Louise Bourgeois is the total absence of remorse for Like Louise Bourgeois, whose public image, during the end of her long life, bouncedīetween the cultural stereotypes of the “old woman” and the “child” traumatised by her father’s infidelity – as if,Īt more than 90 years of age, one still only existed by being someone’s daughter! What has always struck me in The viewers – outraged that artists who are women are most often treated like kids or “unworthy old ladies“, At the age of 80 or so, they portrayed themselves as they wished – brush in hand or pistol pointed at To both – there have been vigorous nude self-portraits by women painters, Maria Lassnig or Alice Neel, forĮxample. Against this world which condemns them to either witchcraft or invisibility – and often Griffin, sphinx, witches, and female figures who summonĪnimalistic bodies and esoteric knowledge are often associated with old age by a heterosexual male world stillĪnxious about its power. When you look at her hand on the bed, you see claws. So fixed, her stare does notĮxpress any recognisable emotion, and besides – the paradox is apparent – she does not see you since you have to ![]() Let me explain this nuance, which has to do with time-stopping and with you whoĪre watching, as witnesses, this gaze gleaming from beneath her charcoal eyelids. You have been observed now for a while whilst time is suspended by this stare – hers. Michele Lamy‘s ‘LIMBO,’ a contemporary still-life film by Michèle, in collaboration with the Cultural Institute of Radical Contemporary Art (CIRCA), is broadcasting every evening throughout November at 20:22 local time on London’s iconic Piccadilly Lights and across screens in Berlin, Melbourne, and Tokyo.ĭirected by Amanda Demme and Mollie Mills, LIMBO poses an un-retouched and tender meditation of female autonomy, love and vulnerability. Michele Lamy presents “Limbo” a contemporary still-life film
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