
Chapter III of HardWerk’s Triptychon series delivers on the numbers in lead performer Sulema Vasquez’s first ever gang bang: three cocks slowly roused to rapt attention during a tender bondage session; a screen split into one, two and three perspectives, infinite nuances, a singular desire; and one rigger and several lengths of rope to bind it all together. But – as this format proves once more, this time in its most languid and meditative installment yet – a gang bang is not math but alchemy. Where attention should be divided, pleasure is instead multiplied, where the pace slows down, intensity – intent itself – is heightened, and where twists of knots should restrict and restrain, each whisper of rope over skin speaks of something liberated, something sensual and something sacred.
A simple question often sparks intense debate. Incluvie attempts a working definition for the beloved horror genre.
Documented human suffering is never easy to view or read about and is understandably triggering for many people, but it can be educational, and education is a key to change. An overwhelming amount queer people worldwide (and in my own country) have it far worse than I could imagine, and documentaries such as Welcome to Chechnya bring issues to light that certain groups of people would never see.
Neon Gravity is an assassin who realizes that her target, as well as her current reality, are not what they seem. This short film is a futuristic story that takes place in Downtown Miami.
We have a long way to go with LGBT representation in film, especially when it comes to LGBT characters of color and trans characters.
Ruben Östlund muses about his characters, “As soon as you get close to a person, you see them as just another human being”. It is widely recognized that aboard the luxury yacht in ‘Triangle of Sadness’, the different groups of people represent a small society as a commentary on classism and gender binaries.