At the very most, they provide a disembodied voice-over to scenes of their bodies displayed in giant snowglobes. Unlike, Louboutin, the girls are never allowed to talk to the camera. The stereoscopic effects that emphasise the round, whole nature of the women’s body parts only increase the potential for these parts to be isolated as interchangeable objects of sexual fantasy with no relation to the women to whom they belong.

A number of dances filmed within Feu 3D replicate this aspect, particularly when the women are put into wigs and make-up that makes it impossible to distinguish one from the other. Later he praises the way the dancers at Crazy Horse are conditioned to fit a standardized mould that they are displayed in such a way that their individuality is subordinate to the form created in the stage tableaus. Sitting fully clothed and by himself on a sofa, Louboutin first compares all women to exotic birds with no sense of irony. The film’s complete dehumanization of the female body into individual sexualised part and unrelenting emphasis on what the female dancers can do to pleasure the spectator is obscenity at its very purist.īetween close-ups of pairs of legs topped by nothing more than g-string clad buttocks and tightly framed shots of always erect nipples, there are occasional words of wisdom from the fashion designer and director of Feu’s stage show, Christian Louboutin. While Feu 3D does not contain any unsimulated sex or graphic sexual exploits, it is certainly pornographic. When my friend told a colleague, in jest, that we were going to see some 3D porn, he sneered slightly as he said ‘that’s not porn!’ His insinuation was that the burlesque nature of Crazy Horse’s stage acts would be tame in comparison to the hard-core acts of the current pornography industry. Unlike Sex and Zen, it has not yet been given a general release but was instead brought to Wellington by the French Film Festival. The film is a recreation of aspects of the stage show Feu and contains examples of Feu’s set numbers and conversations with the creator and dancers. Feu 3D (2013), a stereoscopic offering from the Parisian cabaret club Crazy Horse, is more coherent in its structure but offers a similarly bewildering display of sexualised body parts and unremitting nudity that would be better placed on an adult DVD.

Its orgiastic sexual exploits set in the Ming Dynasty were barely threaded together by an incoherent plot and featured memorable moments such as a castrated penis flying through the auditorium towards the audience. For me, the previous such occasion was 3-D Sex and Zen: Extreme Ecstasy (2011) that, following huge box-office success in Hong Kong, made it to Wellington’s central multiplex. Every once in a while it is possible to see something in your local movie-theatre that is so absurd and so out of context that you have no idea how it got there.

The witch part 1. the subversion srt