At what point does experimental porn stop being porn and become experimental film? Does the experiment raise porn to a new level or do porn elements lower the quality of the film? In the Feuer Zeug group's short film "2 or 3 Things I Like About Him," available to view on the PinkLabel.tv site, we find the coupling of Billy Vega and Jamal Phoenix, two trans males who come together in a passionate, sex-filled union that both lulls and stimulates the senses, and challenges the viewers' perception of porn, of intimacy, of voyeurism, and ultimately of the viewers' gaze upon the performer. There's a lot of intense and pleasurable physicality to this whole project, and we'll get to that, but the manner of presentation is just as important as the action being filmed.
Vega and Phoenix are gorgeous together. They both sport short cropped fuzzy beards and some body hair, but their skin tones and tattoos make for some beautiful contrasts. Phoenix is dark skinned and heavily tatted with extraordinary ink that is slowly revealed the more the camera pans over his body, from toes to nose. He is in stark contrast to Vega's pale skin and lack of ink. The two almost create a before and after picture. They are filmed in a relaxing room of dim, offset lighting of soft lamps and candles with dark stone walls with accents of plants and hanging fabrics; a poet's lounge, a vampire's abode. But while their bodies and the atmosphere are what you first sense, it's the method of filming the scene that is most intriguing, and heightens the eroticism.
They lounge in the bed, sleepily chatting and touching and caressing, softly exploring each other's body parts. They're not filmed from a cold and distant camera, though that is present at times. Instead, much of the action is filmed by the performers with a small handheld they can pass back and forth. Now you may be thinking this is a run-of-the-mill POV scene. Rather, it's cinema verité, where at turns, they turn to the camera and invite you in. They comment on how it feels to be filmed. They comment on how the viewer sees them. They comment on how the camera feels in their hands and how it feels for them to see a camera staring at them instead of their partner's eyes. Then shockingly, the view flips to a traditional setup where they are seen from a distance, a camera motionless by the bed, and they both turn and address the viewer. They know you are there watching, and it gives a slight thrill as of one caught for looking.
But let's talk about the sex, shall we? Their camera, and the static camera, capture some blistering eroticism. They are fully engulfed in each other's bodies as their wet mouths and groping fingers find all the intimate places and draw real reactions of adoration and desire from them. They've invited you in, and now they want you to watch. They take turns running their hands over their skin, their tattoos, their augmentation scars and it's all equally beautiful. They lean each other back in turns, taking each other into their mouths, nibbling and sucking and moaning. They are both men who know how to please each other. They are up against a wall, their soft skin against the hard stone, grinding heatedly into each other. They tousle and romp and lie on top of each other pressing themselves into each other. They consume each other and when they bring each other to explosive orgasm, we the viewer feel as if we've been invited to share in something spiritual. Feuer Zeug is a feminist filmmaking group out of Germany and their feminism shows.
Phoenix films Vega.
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