Photo: CSA-Printstock/Getty Images My feverish devotion to, and ministry of, sensuality in cinema makes me a mystic. I mean “mystic” in the medieval Christian sense. Back then, erotic desire was deeply intertwined with spiritual transcendence. Communing with a higher power was the best sort of orgasm. I’ve even worked out an ornately Gothic tableau of me as religious statue: I’m draped head to foot in a loose garment. My feet are bare, the left one provocatively displayed.
The evolution of my artistic sensibility is the evolution of my perception of the relationship between sexual desire and spirituality, particularly as a queer person. I got to where I am now after moving to New York, and after years of excavating and uprooting deeply entrenched beliefs , of deprogramming my mind. Coming out as gay and then transitioning set that process in motion. While making Lingua Franca, I relied purely on intuition for the first time as a filmmaker.
Masterpieces of sensual cinema — films like Wong Kar-wai’s In the Mood for Love, Jane Campion’s The Piano and In the Cut, Sofia Coppola’s The Beguiled, Céline Sciamma’s Portrait of a Lady on Fire, Steve McQueen’s Lovers Rock, and Barry Jenkins’s Moonlight — are coquettes. They tease and flirt and take you to the precipice, only to leave you hanging, as when Adèle Haenel and Noémie Merlant part ways at the end of Sciamma’s opus.
Isabelvsandoval i dont watch porn ever, holier than thou
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