Dirty Looks: On Location - It is not the homosexual who is perverse but the society in which he lives / Le Sexe des Anges
Soukaz begins his grand oeuvre, La Race d’Ep, pondering on how the apparition of photography, the capacity to capture fragments of reality without the idealization that painting entails, has impacted the possibility of homosexual living. These two filmmakers are landmarks of the aesthetic and political constitution of the queer militant artistic milieu they were immersed in. Their works however, contradict Soukaz’ statement by exploring the aesthetic and compositional complexities that narrative and documentary cinema can achieve. Their films open up a space for dialogue, debate and confrontation, multiplying the images of homosexuality and working towards their viral proliferation in the world, inspiring the minds of generations of queer artists to come. “Notre trou de cul est revolutionnaire!” says the protagonist of Le Sexe des Anges, signifying the political implications of the homosexual desire. Both filmmakers managed, with an economy of means and using the subterfuges at hand in order to produce their films, to achieve works of both extreme intellectual rigor and arresting beauty.
Lionel Soukaz, born in 1953 in Paris, is a revolutionary filmmaker, an unclassifiable and unrestrained originator of the most radical queer cinema. Merging pornography and social criticism, his politically and sexually radical films reflect and take influence from the burgeoning queer movements of the post-1968 period, in particular FHAR (Homosexual Front for Revolutionary Action). Rosa von Praunheim was born in 1942 as Holger Mischwitzky in Riga, Latvia. His artist name Rosa refers to the pink triangle (rosa Winkel) that homosexuals were forced to wear in the Nazi concentration camps. He has made more than 70 films, many of which deal with his favorite subjects: homosexuality, older women, New York City.
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