Out
Out presents a domination/ submission scene set in a mundane living room. The increasing pain prompts the sub to spew out not only cries of pleasure and pain, but also sentences. The scene thus connotes both confessions under torture, and rituals of exorcism. The utterances of the demon who speaks through the sub are all quotes of Avigdor Lieberman, one of the most extreme right wing politicians in Israel. The ritual is framed by two scenes. A preceding interview with the two participants seems at the beginning to be a straightforward documentary, but transforms into an exposition of the narrative premise by which one is possessed, the other an exorcist. The final musical scene is a song set to the words of the Russian poet Esenin’s Letter to Mother. Executed as a one-shot, the song is a direct, if twisted, homage to the final scene of another film that deals with radical sexuality and politics: Dusan Makavejev’s WR, The Mystery of the Organism.
Storyline
Out presents a domination/ submission scene set in a mundane living room. The increasing pain prompts the sub to spew out not only cries of pleasure and pain, but also sentences. The scene thus connotes both confessions under torture, and rituals of exorcism. The utterances of the demon who speaks through the sub are all quotes of Avigdor Lieberman, one of the most extreme right wing politicians in Israel. The ritual is framed by two scenes. A preceding interview with the two participants seems at the beginning to be a straightforward documentary, but transforms into an exposition of the narrative premise by which one is possessed, the other an exorcist. The final musical scene is a song set to the words of the Russian poet Esenin’s Letter to Mother. Executed as a one-shot, the song is a direct, if twisted, homage to the final scene of another film that deals with radical sexuality and politics: Dusan Makavejev’s WR, The Mystery of the Organism.
