Director: Morgana Mayer
Writers: Eleonora D’Arco, Diane De la Barthe, Lucio Massa, Gughy Rossi
Starring: Morena Capoccia, Giada Davinci, Ishara Gabri, Rebecca Gems
From Aborsky Produktions, the company behind the post-porn surrealism of Luigi Zanuso/Luigi Atomico’s BEYOND MADNESS and the directorial debut of Morgana Mayer, SEXUAL LABYRINTH comes FEMALE TOUCH, a film which continues the appeal towards a specific counter-culture of free thinkers.
The film is dedicated to the Italian film maker Alberto Cavallone, a man who himself flirted with surrealist eroticism in his work, and is clearly influenced by the works of Luigi Atomico and Joe D’Amato, so if those names appeal to you then this is certainly one for you but if you are still unsure read on with an open mind.
Opening with what would undoubtedly be an uncomfortable scene for almost every male, the visual representation employed here immediately overpowered the underlying message and while this attempted philosophy hinted at something deeper, something profound, for me it ultimately failed to connect.
With this opening performance piece over and the introductory credits finished, the sexual tapestry that helps to comprise this film continues although rather surprisingly in a manner more restrained (quite literally) than perhaps one relatively new to this sub-genre would expect. The result being something strangely compelling, whether you want it to be or not.
With movies (or should that be performance pieces) like FEMALE TOUCH it is hard to describe the witnessed narrative in a literal way without losing the meaning behind it while a synopsis is clearly open to interpretation from the non-existent to the pretentious, but this way of looking at a movie is not what FEMALE TOUCH is set up to allow. It proves unconventional from whichever way you approach or classify it. An example being the glimpses of putrid and slimy flesh or organs which are interspersed seemingly at random between sexualised segments while no assistance is provided to explain or help guide you through this series of images that become more bizarre as time progresses – at least until the final two segments in which the message behind them becomes a little more overt.
FEMALE TOUCH is certainly too graphic to be an arthouse film, the scenes of female ejaculation and bondage see to that, and too artistic to be pornography (although I am not overly familiar with the Post porn movement of which Anne Sprinkles book helped influence Morgana Mayer’s previous film SEXUAL LABYRINTH) but is something altogether different, something esoteric that exists within and for a specific underground movement.
My interpretation is that FEMALE TOUCH is about embracing our differences and desires, about seeking individual liberation from the restrictions and containment as put into place by the status quo, the white heterosexual males, that run Western society…or something like that.
Challenging, subversive and (potentially) with a message, FEMALE TOUCH is a great example of the question, what is art? What can be called art? And who decides?
For this viewer I found any message to be overshadowed by the methods employed, its subtext difficult to decipher, if there is indeed anything really there although much of this could have been condensed making much of the 78-minute run time more superfluous.