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||IMDB Rating: 4.6/10 from 2,011 votes
||Release: 15 September 2006 (UK) /
||Director: Marina Abramovic,
||Stars: Ana Hamljan Colic, August, Christopher, Daniel, Dino Dinoni, Goce Balkovic, Goran Brklja, Goran Delic, Jasmine Byrne, Manuel Ferrara, Mima Dukanovic, Richard Blondel, Shirin Barthel, Zivorad Dordevic, Zoran Brklja
||Synopsis: Shorts by eight directors examine the boundary between Eros and porn. A feral man masturbates with the aid of a whirling crankshaft; a sunbathing woman phones a doctor for a playful house call; a man with a quartz penis goes through lovemaking, castration, cannibalism, and restoration; a mouth and tongue, close up, lick viscous liquids of different colors and consistency; we watch a grainy film of a lesbian threesome, their eyes and genitalia crudely scratched out; a director interviews ten men, choosing one who picks among six actresses for a porn shoot; ink wash drawings become animated scenes of copulation; last, while an infant cries, a strobe illuminates adults at play. Written by <firstname.lastname@example.org>
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Watch Destricted - Alternative Versions.
(Due to the 1000 word limit I've trimmed this review by over a third:
apologies if some of the notes on films in this seven-film collection
are therefore rather brief.)
Andy Warhol once said, "An artist is someone who produces things that
people don't need to have but that he - for some reason - thinks it
would be a good idea to give them." Destricted doesn't fit into
convenient mainstream or even art-house niches, but is more like a Tate
Modern exhibit. It would be hard to identify a 'market' for the film,
yet it is undoubtedly of some merit.
Destricted is a collection of shorts linked by a common theme. Two of
them are directed by acclaimed film directors and the other five are
made by heavyweights (two of them women) from the world of contemporary
art. All were invited to make films on their views of sex and
The films in Destricted are mostly iconographic or impersonal
fabrications. They distil essential elements into images that remain
long after they are viewed. Each uses different artistic techniques,
and each is worthy of serious study - although cinema audiences'
reactions may also include boredom and amusement.
The most accessible section of the film (and the most linear in format)
is Impaled by Larry Clark. Clark examines the effect pornography has on
youngsters, but his film goes further, looking at the human dynamics
and insecurities of the porn industry and making a porn film. He
interviews young male pornstar wannabees, in discussions that are
almost like a shrink session, asking them about their sexual
experience, preferences and use of pornography. One of them is a
virgin. Many have quite understandable hang-ups about their bodies.
Asked what sort of things they would like to do, they all express an
interest in anal sex. When they undress, nearly all of them are shaved.
These last two characteristics, although only evinced by a minority of
the general population, are frequently the norm in pornographic films.
The female porn actors interviewed are shown as human and genuinely
sensual (unlike the way they are portrayed in porn films), although
their comfortable attitude to sexuality threatens to bring out more of
the guys' insecurities (a theme that was also explored well in
Breillat's Sex is Comedy). The girls prove mostly adept at putting the
young man at ease however and he selects the oldest of them (40yrs) to
be his 'co-star'. Clark avoids the pitfall of making the film funny or
sterile or missing the eventual sex scene. The result is a documentary
about porn that is also seamlessly pornographic.
The sense of dislocation is felt even more strongly in House Call by
Richard Prince (a twelve minute section). Almost an homage to a golden
age of porn, Prince takes the naughty doctor-patient fantasy stereotype
but reprocesses his film until the image quality is overrun with
graininess and bad lighting. To this, he adds jangling, futuristic
music so that, even though the images are very explicit, we are reduced
to observing them in a distant, dispassionate way.
Hoist, the fifteen minute contribution by artist Matthew Barney, will
be no surprise to fans of his acclaimed Cremaster Cycle. Barney
develops cryptic, intricate symbols that draw you in to their artistry
long before you decipher them, whether in Freudian or any other terms.
He is a very visual artist and can be extremely unsettling, perhaps in
the way Dali is. At the start of Hoist, we are not sure what we are
looking at. It could be a slug. Very slowly it grows, like a painting
that slowly changes. Gradually we become aware that it is in reality
something very different to what we had expected. It is a human penis.
The ultimate, dystopian contrast occurs in an onanistic union with a
Balkan Erotic Epic by Marina Abramov is thirteen minutes of amusing but
quite instructional scenes re-enacting ancient sexual rites for
fertility, warding off evil and the like. It also provides some of the
most memorable images, such as the bare-breasted woman repeatedly
clutching a skull to her chest in the closing credits. One of the
scenes - where men are seen from above, lying face down and copulating
with the earth itself, is reminiscent of the work of the photographer
Spencer Tunick who stages vast public gatherings of naked people around
Sync by Marco Brambilla is the shortest contribution at less than 2
minutes. Brambilla uses sensory overload in the form of clips, each no
more than a few frames in length, from typical hard core features. The
resulting choreographed collage (set to loud drum music) is like being
hit over the head with Dante-esquire force by images that once would
have appeared sexual or arousing.
Death Valley by Sam Taylor-Wood is eight minutes long and puts a
Marlboro man type character in one of the hottest infertile places in
the world where he 'spills his seed'. Taylor-Wood's work often has the
human figure isolated on film, as if she views the body in its most
revealing moments as a work of art in itself. Death Valley conveys the
loneliness and stigma attached to self-stimulation and is
uncomfortable, almost homo-erotic viewing.
Gaspar Noé provides one of the longer segments with We F*ck Alone at 23
minutes. As with his earlier Irreversible, he uses strobes and a
heartbeat-like thumping background score to create sensory
disorientation. At one point a man puts a gun in sex-toy doll's mouth
as he copulates with it. The scene maybe suggests the danger of sexual
repression symbolised by solitary pleasure - if the psyche is unable to
negotiate normal sexual relations with another person it tends towards
force and a desire for dominance. The title is a play on the title of
the director's first feature film, I Stand Alone (Seul Contre Tous), a
controversial story about despair and loneliness and the resulting
Tags for Destricted Full Movie
Ana Hamljan Colic
, Dino Dinoni
, Goce Balkovic
, Goran Brklja
, Goran Delic
, Jasmine Byrne
, Manuel Ferrara
, Mima Dukanovic
, Richard Blondel
, Shirin Barthel
, Zivorad Dordevic
, Zoran Brklja
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