Room 33 ist ein erotischer Kurzfilm der schwedischen Regisseurin Erika Lust. Der Film erschien im Jahr 2011 und ist eine Fortsetzung ihres Kurzfilms Handcuffs. Room 33 ist ein Beitrag für den experimentellen Film Hotel, bei dem sechs Regisseure im Hotel Casa Camper in Barcelona 24 Stunden Zeit hatten, an ein und demselben Ort einen Film nach ihren persönlichen Vorstellungen zu drehen.
Erika Lust (born 1977) is a Swedish erotic film director, screenwriter and producer. Since the debut of her first indie erotic film The Good Girl in 2004, Lust has been cited as one of the current leading participants in the feminist pornography movement,[2][3] asserting that an ethical production process sets her company apart from mainstream pornography sites. Lust has stated that she finds no issue in calling her films porn, since she expects viewers to be sexually aroused, unlike other directors of erotic films who make a distinction between their work and porn even when both types contain sexually explicit scenes.[4] In addition to directing and producing a number of award-winning films, she has written several books.[5]
Erika Lust Film Film Room 33
She went to Lund University, where she studied Political Sciences.[8][9] While there, she came across Linda Williams' 1989 book Hard Core: Power, Pleasure, and the "Frenzy of the Visible", which would influence her filmmaking later.[9] She graduated with a BA in 1999, with a specialization in human rights and feminism.[10] After graduation she moved to Barcelona in 2000 and started studying filmmaking.[8][9]
Lust shot her first film, the explicit short The Good Girl in 2004, which became an instant hit.[11] Released online for free under a Creative Commons license, it was downloaded millions of times in several days[12] and two million times in two months.[13] The film was shown at the Barcelona International Erotic Film Festival the next year and won a Ninfa Award.[14]
In 2005, after this initial success, she founded her video production company Lust Films.[8] The company has produced erotic short films and compilations steadily from then on. Five Hot Stories For Her, an anthology of five vignettes including The Good Girl, won the Barcelona International Erotic Film Festival's 2007 Best Spanish Screenplay award,[15] the Venus Berlin Fair's 2007 Eroticline Award for Best Adult Film for Women,[16] and the 2008 Feminist Porn Award for Movie of the Year.[17] Since then she has been a regular on the adult cinema festival circuit, and in 2020 one of her films came to the cinema on a regular basis for the first time.[18]
Lust's films are characterized by carefully cast actors and high standards of production in adult film. Lust believes explicit film can be an educational tool besides being pleasurable and can help us better understand our sexuality, to live more freely and naturally. She hopes to influence viewers' conceptions of gender roles in sexuality.[19] She considers pornography to be the "most important discourse on gender and sexuality".[8]
In 2010, Lust opened an online erotic cinema called Lust Cinema, exhibiting her own films and those of other authors of the new wave of explicit films.[8] She started the first crowdsourced project in the history of adult cinema in 2013, calling it XConfessions.[8] It has become her main source of work in the years thereafter.[20]
Her film Cabaret Desire (2011) won her the Feminist Porn Award for Movie of the Year in 2012 and the CineKink Audience Choice Award for Best Narrative Feature. It was cited as an example of the diversity of porn at the 2013 Berlin Porn Film Festival providing a space for rethinking sex, sexuality, and pornography.[28]
In 2020, her film The Intern received three film nominations for the XBIZ Europa Awards including Feature Movie of the Year, Best Acting (won) and Best Sex Scene in a Feature Movie. Her film Super Femmes was also nominated for Best Lesbian Sex Scene (won) and was the first time in the history of XBIZ Europa Awards where a Big Beautiful Woman (BBW) or trans performer were nominated in a non-genre specific category. Erika Lust Films was also nominated for Global Studio Brand of the Year, and her online streaming platform XConfessions was nominated for Erotic Site of the Year.[29]
In 2014 Lust and other directors began producing short pornographic films based on crowd-sourced stories.[30] Viewers can leave anonymous confessions on the project's website. Each month, Lust handpicks two stories and turn them into cinematic short films.[31] XConfessions has been presented at the Berlin Porn Festival 2014.[32][33] The first two compilations of her XConfessions series have won her the Feminist Porn Awards for Hottest Straight Vignette in 2014 and 2015 respectively.[20]
Lust held two sold-out screenings of the XConfessions Theatrical Cut at Kino Babylon in Berlin in February 2016,[35][20] and went on to win the Best Narrative Short CineKink Award for short film An Appointment with My Master.[36]
Erika Lust was one of the female filmmakers featured in "Women on Top", the first episode of the Netflix documentary series Hot Girls Wanted: Turned On, focusing on the filming of "Hysterical Piano Concert" (XConfessions 2016). Gail Dines writes that rather than being a film of empowerment in which a female pianist fulfills a fantasy, the woman with no prior film experience is subjected to stereotypical porn sex that leaves her traumatized and in pain, but is persuaded by Lust to continue.[37] Kat Banyard states that "feminist porn" as promoted by Lust is another brand that does not challenge the mainstream, but serves as another entry point for potential customers.[38] While not in favor of any type of censorship, which she views as having greater effect on the powerless, philosopher Amia Srinivasan says that sex on film impedes the development of sexual imagination, which has a greater impact on the young.[39]
In a study of feminist pornography, Carmen Pena Ardid, Professor of Literature and Film at the University of Zaragoza, cites Lust as opening a way for women as inventors of fantasies and producers of pornographic sexual representations, but her work does not resolve the models of femininity imposed by fashion, advertising or the cosmetics industry, and the constrained social situations within which fantasies are lived.[40] Álvaro Martín Sanz, professor of film studies at the University of Valladolid, while recognizing Lust as pioneering the rejection of the heteronormativity present in traditional pornographic cinema, also finds limitations in the pursuit of beauty and the focus on fantasies rather than more realistic portrayals.[41]
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A couple book a room for the night at a distinctly unusual hotel. But is there room for one more? Room 33 is a short film by feminist porn filmmaker Erika Lust, shot in a hotel in Barcelona. It was part of a project in which 5 directors shot one short movie each during one day in the hotel.
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This film focuses on a bohemian erotic reading gathering, where attendees can pay for privately-told stories. As such, each scene begins with someone paying for a story, and the storyteller beginning to speak. The voiceover continues into the scene until the sex kicks in.
1) The portrayal of Jefferson's alleged affair with Sally Hemings in novels, films, and other discourses demonstrates that the rhetoric of public memory, which preserves the relevance and utility of the past for audiences in the present, is often sustained, not by a transparent or even plausible understanding of former persons and events, but by profound and potentially irresolvable confusions over the relationship between what is commemorated and those doing the commemorating.Bradford Vivian 285
2) I believe our class was not the intended audience for this film. Actually, that's an understatement. Anyone who has read and researched what we have would look at this video and go "Uhm . . . really?" By this point in the class, I have already formed an opinion of my own as to what happened between young Sally Hemings and Master Jefferson. And this was not it. I understand the pressures put on film makers to reach a certain audience. I take exception to anyone slapping a "True Story!" label on something like this. Sure, it makes it more marketable. It also makes it bullshit. As far as I am concerned, there is no way the Sally Hemings "scandal" played out the way it did in this film. Certainly there are moments of truth. I think Jefferson most likely did provide Sally with more than the average slave would have received. I believe some of the relationships in the film were accurately portrayed (I particularly liked the moments between Sally and her mother, which we have not really seen to this point). In answer to the question "What was Andrews' goal, and did she achieve it?" I would answer that her goal was to sell advertising space during her TV show and that, yes, I'm quite certain she achieved it well. I think she certainly had sub-goals. As one poster mentioned, getting people to see the people, and not the black and white, was certainly one such sub-goal. I think the film provides an interesting look at the time and the people. I think it gives us some excellent visuals. I do not think it portrays the relationship between Sally and Tom in an accurate light at all.Greg King, Lehigh University 2ff7e9595c
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