Directing
A group in latex are hard at work to a beat that’s extra hot.
Short film by Paulita Pappel & Rod Wyler
In the future where men have died out and their semen is the latest commodity. It’s a teasing role-reversal in which rough sex, facials and swallowing, traditionally viewed as objectifying women, instead turn men into little more than fantasy fodder and cum dispensers for a privileged princess.
Inspired by the sexploitation films of Russ Meyers and Michelangelo Antonioni’s Blow Up (1966), HardWerk’s latest gang bang is a slow burning subversion of cinematic tropes that finds the carnal in the camp and the sumptuous in the sleaze. For her first ever gang bang and first facial on film, lead performer Maria Riot and the filmmakers reimagined the figure of the bossy (and generally male) photographer with a much-needed shift on the gender axis, so allowing Maria to take the lead in quite literally staging her own fantasy.
The classical gang bang reimagined in an ‘auto-erotic’ celebration.
Chapter III of HardWerk’s Triptychon series delivers on the numbers in lead performer Sulema Vasquez’s first ever gang bang: three cocks slowly roused to rapt attention during a tender bondage session; a screen split into one, two and three perspectives, infinite nuances, a singular desire; and one rigger and several lengths of rope to bind it all together. But – as this format proves once more, this time in its most languid and meditative installment yet – a gang bang is not math but alchemy. Where attention should be divided, pleasure is instead multiplied, where the pace slows down, intensity – intent itself – is heightened, and where twists of knots should restrict and restrain, each whisper of rope over skin speaks of something liberated, something sensual and something sacred.
Somewhere between a hallowed altarpiece and the orgiastic frenzy of The Garden of Earthly Delights, the first film of HardWerk’s ‘Triptychon’ series pays homage to the classical triptych format with an entirely new perspective on the gang bang. With the screen split into three parts, allowing multiple perspectives in time as well as space, a new type of sensual storytelling is born with no detail missed and no moment overlooked. And the right ‘composition’ was as essential to the energy of the film as it was to the aesthetic. For the filmmakers, finding the right constellation in the cast with the right organic energy ultimately made for a film – and first gang bang for lead actress Luna Silver – that was ‘intimate and filled with laughter and joyful, playful energy’. In the tangles of limbs, the eruptions of giggles and gasps, and the clever juxtapositions of context and chronology, ‘Triptychon’ turns a four-way fantasy into a single work of erotic art.
The second film in the second HardWerk Triptychon trilogy explores the dark aesthetics of berlin sex clubs further, bringing us to a different kind of dark room. The protagonist Muriel La Roja, who we knew as a banger on Beer & Loving with las Bangers, orchestrates her bang after the beat of her desire. Choosing a queer bangers’ constellation, she is accompanied by Delfine Dahlia, Curved Marvin and Rod Hardick , the four of them melting into a passionate, sensual, deeply magical trance of touch and pleasure. Dive in this whirl of lust by the hand of Sky Deeps live recorded soundtrack. Triptychon V is the epitome of hardcore softness.
What do you do when all eyes are on you? All hands are on you? Lips, spit, tongues, sweat, seeds? In the second entry of HardWerk's stripped-down-and-teased-out “Ask Me” docu-series, the camera is turned on Delfine Dahlia for a candidate exploration of desire, sex and self.
Back for its fourth installment, HardWerk?s interview-cum-gang bang docuseries continues to probe deeper, push limits and expose even more ? as in the interview, so in the fucking ? which, as it turns out, is exactly how lead performer Freya likes it. Well, with a little oil, a lot of sweat, and an ass stuffed as full of cock as her mouth? With Freya no stranger to group sex, Berlin?s hedonistic kink culture or relinquishing control in the pursuit of pleasure, it?s in the intersection of all three, blindfolded and breathless, that the deviancy of ?dare? finds its final form ? irrevocable, brutal, blissful ? in ?truth?.
