Tits ahoy!

>> The Goethe highlights the erotic offerings of Regina Ziegler



by MATTHEW HAYS

One of the most prolific producers of erotic filmmaking turns out to be from Germany. And that national distinction leads the Goethe-Institut—that showcase for all cultural products German—to showcase the work of this producer, Regina Ziegler, over the next few weeks (no filthy jokes about her first name, please).
Ziegler’s sensibility grew out of the boom in German cinema in the ’70s and, after literally hundreds of productions, it’s quite clear that she believes in virtually every kind and genre of film imaginable. “Take a director and a writer,” she once said, “and leave them alone—that’s how the best films are made.”

And though she likes them varied, it’s quite clear she’s had a fetish for erotic filmmaking. (And, more specifically, Ziegler seems to favour filmmakers who have a thing for breasts; there are plenty of tit shots in these movies.) And that’s what the Goethe programmers have honed in on. Here are some highlights from this eclectic and unusual program:
The Waiting Room This ’96 entry is striking simply due to its sheer lack of dialogue. The film, directed by Jos Stelling, has a man waiting in a train station waiting room, leering at every woman in sight. He ponders one woman as she daydreams; she catches him and he quickly looks away. He fixates on one plump woman as she wipes the perspiration from her breasts. Never has promiscuity been conveyed so well with utterly no touching—he’s just ogling every woman he can, because she’s there. Soon enough, one woman is returning his gaze, and the two end up in a brazen display of public affection. Stelling manages to maintain our attentions right to the final, er, climax.

Touch Me Internationally renowned independent filmmaker Paul Cox opens his 28-minute short with an art class surrounding and painting a beautiful nude model. As the session ends, a dwarf student expresses his love for her. The instructor interrupts his advance, shooing him away. The two women prepare to head off for a weekend together at a decadent cottage in the country. What’s odd about this film is the way in which Cox incorporates virtually every awakening-lesbian cliché in the book, from inconsiderate het guy lover of younger woman (he just doesn’t understand her, nor does he know how to make love to her), to the various ways love eventually breaks out between the two women (shower, wiping mud off various body parts, massage etc.). Though this film is gorgeously shot, I kept thinking that maybe Cox had watched Personal Best a few too many times. Been boning up on your Olympics trivia, Paul?

Sambolico This time, our protagonist, a famous Findland composer, appears to have an ass fixation as well as a tit fixation. (Director Mika Kaurismaki clearly thought to add another dimension into the mix.) Said composer becomes involved with a stunning woman while on vacation in Rio, only to find that she’s already attached to an overbearing boor who beats her. The two continue with their illicit romance despite (spending much of this film on the lam from hubby) trying to find romantic places to cuddle, kiss and plan their escape. There are some pleasingly gripping suspense sequences here, in the Rio underground where nothing seems safe (even the gay drag club isn’t sacred!) and our couple just might be doomed to death for their all-encompassing passion.

The Night Nurse A guard is called in at the last minute to take over a shift at a prison hospital. It seems a gangster has been brought in and must be kept chained to a bed. The gangster has a stunning body, covered by nothing but tight white underwear; meanwhile, the nurse overseeing the floor is plenty sexy herself, wearing a tight dress and constantly flirting with the guard. Director Bernd Heiber plays this film extremely well, particularly the open-ended question: is the guard fixated on the stunning guard or the stunning nurse? It’s a bisexual’s dilemma, for sure.

The Elephant Never Forgets My vote for the very best in this series is Detlev Buck’s 29-minute nutty charmer. The plot features one of the most surreal rescue sequences ever. A woman crashes her car, which is soon engulfed in flames. Luckily enough, a circus happens to be passing by, and one dwarf leads his elephant over to the car, where the elephant plucks the woman out with his trunk. Offered a reward, the dwarf then ventures to her home to collect. This one is hilarious, inspired and perhaps the most erotic of the bunch. And no, it doesn’t appear as if there was any cruelty to animals during the shoot.

Can I Be Your Bratwurst Please? God, does anyone give cheek as good as Rosa von Praunheim? The reigning queer goddess of German cinema (taking over from Fassbinder) again lets loose with this typically freaky little number. Porn legend Jeff Stryker stars as a stud who leaves the midwest to head for Hollywood, where he seduces an entire family. This is touted as Stryker’s first non-porn role, but it doesn’t seem like so much of a stretch for the man, really. :

Erotic Tales screens at the Goethe-Institut from today, Jan. 31 to Feb. 15. See repertory listings for showtimes