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Norman N. Holland
  1. Max Ophuls: Madame De
  2. Lola Kirke, John Cho, and Aaron Katz on Punching Zoë Kravitz and the Pitfalls of Fame
  3. Director Daryl Wein LOLA VERSUS Interview | Collider
  4. What Lolas Want
  5. Search form

And I think men have a much easier time of having innocuous, meaningless sex for pleasure. I think those generalizations, at least in my experience, have proven to be pretty true. We were trying, as we were writing it, to hit those universal themes and issues that it seems like all women are going through. Your partner is so needy and coming after you.

Even if you do have days on or off, you have off days. You go off to be with your guy friends and the girls go off to be with their girlfriends.

Max Ophuls: Madame De

You are very much entwined, texting, calling. You become very co-dependent. Could you talk about shooting in New York and the unusual locations you chose? Was the plan to shoot in New York from the beginning? Jakob Ihre, who is our lovely Swedish DP, and I worked the whole month and a half before [filming started] trying to figure out how we wanted to shoot it and show a few different sides to New York. We were like okay, well where do people not usually shoot and what would be appropriate for the story?

It was a really unique place to be, all the way over near the Navy Yard. And we shot on the High Line which was really exciting. I think we were one of the first films to shoot on the High Line. We were trying to find some fresh ways to show off the city. We were a low budget film in the grand scheme of studio films. To go and shoot in the middle of Times Square with a little skeleton unit was really difficult, but I think it adds to the scope and feel of the story in the end.

I think we shot double the typical locations for our budget size and that made it so we were shooting more pages per day. All of a sudden, I was going from wheeling a trunk with our gear for Breaking Upwards to massive trucks and cables taking up blocks. It was such a different production. All of a sudden to have all these people take over city streets, you move slower in that way.

I think people are looking to me a little bit as a relationship oriented kind of director because Breaking Upwards and Lola Versus now focus so much on intimate, co-dependent relationships in New York. If I get a big check, will I go do a big romantic comedy? How big can you go? I would love to live a little more comfortably, but it is very important for me to try and maintain my soul and integrity as a filmmaker in as big of a way as possible. What you are working on next? They have an emotional connection with each other, kind of a soulmate connection, which is obviously a very taboo thing to have in this society and in the way that we all view relationships in obviously a very puritanical way.

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  3. Writer/Director Daryl Wein Talks LOLA VERSUS, His Next Film, and More!
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Important conversations with 16 year olds, such as the difference between healthy and unhealthy porn, will not be appropriate with 10 year olds. The most important thing with young children is to not leave them alone with the disturbing images they will find on the internet. Porn can often be a way for people to learn about sex, yet much of it is unrealistic.

The alternative, indie adult community as a general rule proves itself on showing people, and the sex people have, in a more authentic light. I let the performers do what feels pleasurable. My goal is to stimulate all the senses and arouse the viewer in as many ways as possible. Because most of this porn is made by men for men, the films embody the male gaze, and it results in women being presented only as objects of desire, never as subjects of pleasure.

Lola Kirke, John Cho, and Aaron Katz on Punching Zoë Kravitz and the Pitfalls of Fame

Men are missing from much of straight porn, only appearing as disembodied penises, which is also a form of strange objectification. We can definitely create films that show women as sexual collaborators with men — rather than sexual conquests of men. So porn can definitely be feminist. Show consensual sex on film and make it in a non-sexist way. Show women and men as equals and show that sex is something you do together, not something a man does to a woman.

I believe a lot of the content being created in mainstream porn is dictated by the current climate of the industry and pushed down our throats.

The rise of free porn tube sites means there is a huge amount of content available and a very saturated market. This has increased competition and has put pressure on production companies to stand out with more extreme and ridiculous scenes in hopes of gaining a larger audience. As a result, people are exposed to a type of pornography which can warp their view on what sex should be.

What has the response to your work been like? The response has been fantastic.

Director Daryl Wein LOLA VERSUS Interview | Collider

I started XConfessions because I wanted to make films based on the actual fantasies and sexual experiences of people from all over the world. It had felt so great for me to get to bring my own ideas to the screen and I wanted to see if I could make that happen for other people too. And also, I was just very curious to see what people would come up with. Luckily people really connected with the idea and started confessing these amazing stories. Definitely some things I could never think of, and lots of funny and sexy memories from real life.

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  • When the films are released, I receive messages on my Facebook page, twitter, via email…. Every week there are positive comments from men and women! Single, married… there is not an specific demographic, what all of them have in common is that they appreciate the work I am doing for a more sex-positive culture where female pleasure matters, and they thank me for bringing me a more positive light into their sex lifes and sexuality.

    The absolute best thing to see or hear is also how much my films have inspired another woman who now wants to pursue a career directing sexual explicit films. And so it was really amazing when so many people responded to my open call for guest directors. It really feels like we are part of a revolution now, and that alongside one another we are going to forge a new adult cinema. Yes, absolutely! Many viewers say it helps them celebrate their sexuality and encourages them to become empowered by sex in a variety of ways.

    The tube sites have completely disrupted the adult industry. Performing in adult cinema is no longer as lucrative as it once was, with many performers taking on side jobs. Most of the performers now also do webcamming, live erotic performances and engage in other activities to create a brand around their name, gain fans and become well known. This is the way for performers to gain financial security. However I do think people are becoming tired of the massive free porn mills and tube sites and are also beginning to produce their own content for their own sites.

    When someone is interested in having a positive experience without nasty pop-ups and degrading ads they look for an alternative and are willing to pay for it. There is a higher demand for adult cinema that is smart, sex-positive, and respectful towards women. You want to support a company that pays its actors fairly, treats them well on set and always priorities consent.

    What have you learned about sex from making porn? Sex should be a wide, beautiful universe of sensuality and pleasure.

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    It can be funny, or kinky…. Watching ''Lola,'' you're often struck by the dogged unity of Demy's ''idea of the world'' and his ''idea of cinema''; they're totally congruent. The heroine is a provincial dreamer who seems to have spun her very identity from cast-off strips of celluloid. Lola sleeps with the occasional sailor without ever being unfaithful to the memory of her first and only true love, who disappeared eight years earlier; the torch she carries burns with a pure and steady flame. Lola is not the name she got at birth but one she has adopted to suit her stage persona: when she performs, in shabby cabarets, she decks herself out in a skimpy costume, complete with black stockings and top hat, evoking Marlene Dietrich's character in ''The Blue Angel'' -- whose name, of course, was Lola-Lola.

    She's related, too, to the heroine also a performer of Max Ophuls's ornate romantic tragedy, ''Lola Montes'' But Demy's Lola is more than the sum of her allusions. She resembles her silver-screen models only superficially. It's as if she were merely playing at being a femme fatale or even a ''bad girl''; she isn't nearly worldly enough to be convincing in the role.

    In fact, Lola's most notable characteristic is her impossible innocence: a wholehearted responsiveness to experience that both enables her to identify un-self-consciously with images of movie glamour and prevents her from developing the coolness and impenetrability of an authentic siren. She's a cheerful, guileless vamp, more Clara Bow than Louise Brooks.

    What Lolas Want

    This self-invented Lola is a perfect vehicle for Jacques Demy's ideas about love, illusion and the fragile joy of movies, because she's a seamless combination of the real and the ideal: her belief in the ideal is her reality. She's the still point of this turning world and doesn't even know it. Chief among her admirers is an earnest, bookish young fellow named Roland Cassard Marc Michel , who has loved her since their school days and who runs into her on the day he decides to leave Nantes for good; after seeing her, he has to reconsider his plan.

    What Women Want- Marisa Tomei

    Then there's her sailor, genial Frankie Alan Scott , who clearly adores her but is, like Roland, on his way elsewhere, in his case home to Chicago. An excellent idea, since he speaks French with the most hilarious American accent this side of Jean Seberg in ''Breathless. All these people are to some degree reflections of Lola or her vanished lover, and part of the pleasure of the movie lies in watching Demy choreograph this intricate play of mirror images as the characters flicker past one another -- sometimes recognizing themselves, fleetingly, but more often not.

    For these enchanted dreamers, though, self-awareness isn't really necessary, since their destiny is pretty much out of their control, and, as it happens, a benign hand -- Demy's -- is shaping it.

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    Deliverance arrives in a gleaming white Cadillac convertible, an outrageous but inevitable resolution. In the poetic, wholly self-contained world Jacques Demy creates in ''Lola,'' anything can happen, for no better reason than he wants it to. Miracles aren't out of place here; they're practically required.

    For all the warmth and fluidity of Demy's style, ''Lola'' and ''Bay of Angels'' are by far the most highly wrought -- and arguably the most technically accomplished -- of the early New Wave films.