The doors of perception are flung wide open in HardWerk?s trippiest gang bang yet, a visually psychedelic and viscerally psychosexual homage to Fear and Loathing in Las Vegas. However, in this version, it?s a female protagonist, performer Bebe Melkor-Kadior, hunting for answers, experiences and the ultimate high in modern-day Berlin ? a hunt that brings her to the apartment of Las Bangers. Utilizing parallel chronologies and that characteristic common to all the most arousing of pleasures, the film places its seven performers firmly in the hallucinatory space between fantasy and ecstasy, distorting not only time and space but notions of objectivity and subjectivity, ego and id, mind and body, and known and unknown for a kaleidoscopic and carnal trip not through but on a consciousness-altering dose of desire.
We are led – and almost literally so, leash and all, as lead performer Kleopatra appears blindfolded onscreen – into the second installment of HardWerk’s Triptychon series by the ring of a bell, the creak of an old wooden school desk, a nervous lick of the lips and three waiting figures. Hanging in the air with it all: anticipation, intention, veneration. It’s not for nothing that the filmmakers have adopted a slower pace for this intense gangbang – there’s a meditative quality to the echoing spanks and answering whimpers, to the push and the pull, to effortless dance of desire between the four participating performers; an absolute presence of mind and an absolute presence of flesh. As with the previous Triptychon film, the composition finds its own seamless choreography across multiple perspectives, so creating stunning juxtapositions between pain and pleasure; between a hand tightened around a throat and the easy laughter in each moment of disarming tenderness; between the polish of ‘pre’ and the primal of ‘right now’…
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