Dirty Talk

Short Film | 4mins | May 2020

The afternoon motion sickness.
Look outside, it helps. 

LEGAULT. ARUDA. 2 UNREAD MESSAGES.

The sun is warm
but no one waits for a haircut outside the barbershop.

TRUDEAU. TAM. RESCUED DOGS ON DODO.

The breeze is light
but no one is running towards the metro.

TRUMP. FAUCI. PIZZA FILTER ON MESSENGER CHAT.

The quivering ribbon in the tree
is still out of reach.

*ding*

 3 UNREAD MESSAGES. MARU THE CAT SITS IN A BOX.

Pay attention Gabriela.

“A short film project challenges artists to find ‘inspiration and enlightenment’ in the experience of sheltering in place. And it’s working.” [1]Norman Wilner, “Canadian directors are making films in self-isolation”, Now Toronto, May 12, 2020, https://nowtoronto.com/movies/canadian-directors-making-films-in-self-isolation, accessed on … Continue reading

But the film I was making, Dirty Talk, was not going to be inspiring. When I was asked to make a film for the Greetings from Isolation Project, I wasn’t sure if I had the energy, but I had nothing to lose. Dirty Talk is a time capsule of my state of mind during the first wave. It captures the yearning and the revulsion I felt as a single person living alone. Spit bubbles, licking doorknobs and washing hands in saliva in close up against a black background while I channelled my inner ASMR host to create something erotic and uncanny, intimate and anonymous.  Dirty Talk is my most grotesque film, a PG film that plays porn film festivals.

Last year I researched the aesthetic principle of the grotesque which is best understood in terms of what it does, as a verb, rather than as something with a fixed set of qualities, a noun. [2] Frances S. Connelly, “Introduction: Entering the Spielraum”, The Grotesque in Western Art and Culture, Cambridge University Press, New York, 2012 The grotesque creates gaps, spaces of play in between culturally relative boundaries; it generates an uncomfortable oscillation between attraction and repulsion. What is grotesque yesterday is mundane today as we create new boundaries in new places. The experience of the film changes with every phase of this pandemic. Although we hope for a return, I doubt the liquid floor feeling  will stop.

References

References
1 Norman Wilner, “Canadian directors are making films in self-isolation”, Now Toronto, May 12, 2020, https://nowtoronto.com/movies/canadian-directors-making-films-in-self-isolation, accessed on March 29, 2021
2 Frances S. Connelly, “Introduction: Entering the Spielraum”, The Grotesque in Western Art and Culture, Cambridge University Press, New York, 2012

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