I make porn and I love it: catchy music video porn for the young and hip

J’fais du porno et j’aime ça (2009; I make porn and I love it) by Murielle Scherre (1977), the owner of the ultra hip international underwear fashion company La Fille D’O, takes the erotic music video format introduced by Candida Royalle and further developed by Erika Lust a step ahead with a stylistically striking sound- and picture composition and artsy editing on all of the DVD’s twelve short vignettes. A rock-pop song that matches the action in both lyrics and melody accompanies the vignettes, which are almost all without dialog.

The style varies from delicate to grunge. The cutting is attention grabbing in some of the films, in others seamless. Some of the films are shot in black and white, or with artistic filters; others in realistic color.

The opening vignette, “mon premier picnic (my first picnic), featuring a sensual picnic in a meadow dark at night, is accompanied by a nostalgic melody; “she’s about to lose it, sings a husky young male voice languorously to long slow guitar strokes. To the rhythm of the song we see the dimmed black-and-white images of two young women, naked except from their sexy delicate underwear, dancing, licking, circling each other in slow motion, smooth skin to skin, lips, tongues, whipped cream, wine, their long blond wavy hair clings to their dimples. The atmosphere is giddy, yet snug, their movements lingering and soft.

The second vignette, on the other hand, “take care of yourself, is driven by a quick almost impatiently happy pop melody. Presenting us first with a series of brief snapshots of a handful of people, women and men, in their private settings, we then get to see their individual sexual satisfaction in crosscuts, mostly as solo sex, the camera framing only their upper-bodies; the focus is on the expression of pleasure in their faces. Scherre is included in this vignette (see above snapshot), receiving cunnilingus.

The soundtrack on the third vignette, “you’re a woman i’m a machine, has a more raw feel to it. The opening picture frames the hands of a male athlete, white gloves, grabbing talcum from a tray, clapping his hands dry, ready for action. Charging the picture is the sound of a woman’s heavy breathing. He jumps, reaching for the rings. Crosscut to a young couple in a simple bedroom; she’s riding him, the camera focuses on her face and upper body. She’s thin, with long straight hair, bangs, her breasts small, all of her blushing from her exertions and the pleasure.  The camera crosscuts between her and the athlete throughout the vignette in raw staccato cutting. She moans frantically towards the end.

The next vignette, “the inside is where it is at PART 1: le gas station is a longer, ten-minute documentary about a couple who likes to have sex in public places, especially toilets. We see the two having sex in a series of public toilet stalls, the lighting harsh, the music hard. Between the sex numbers, Scherre interviews them about their fetish in the car on their way to the next toilet.

The premise of the five-minute “hand in glove is simple: a beautiful young woman and man have sex, with foreplay, in their bedroom. The vignette is accompanied by another nostalgic rock song; “I love it when you come down, sings a hoarse male voice. Filmed in black-and-white with an almost constant use of images dissolving into one another, it captures the muted joy, passion and love the two share; they fit together, like hand in glove, their movements flowing effortlessly.

A loud but catchy rock song takes us down a highway late at night in “that certain need. The vignette has a dark, raw feel, communicated through the flickering unsteady shots of a man in jeans and T-shirt running down the highway with a truck behind him\’a young woman is driving with another woman next to her. In the end he turns around, stops “ the truck stops. He pulls off his T-shirt, and opens the door to the driver seat. Leaning up against the door, pants pulled down and skirts up, the three have sex. It’s crowded and dark, the pictures blurry.

The follow-up film “the inside is where it is PART 2: le cinema portrays more sex in public places, but the esthetics in this one is less documentary and more artistic. The film begins with the two in an empty movie theater watching an old American instructional film from the fifties where a man is lecturing the audience on “what to do on a date. The burgundy red chairs in the dark theater give the picture a warm glow, at times soft filters are added too, or the film crosscuts to black-and-white shots with soft Hollywood lighting. At other times the shooting speeds up to fast motion, electronic house music, sometimes almost psychedelic.

The music on “actions/louder/words on the other hand is calm. The film begins with a slow dance between a woman and a man kissing. She’s blindfolded, her hands in his ruffled curls; dark soft curls surround her face. The picture is shot in black-and-white, but changes to color. A smaller picture of the two where he lays her down in bed and pulls up her black tank top is pasted on top of this picture. In the next shot it fills the screen, then from another angle. Another picture from another angle where he teases a finger up inside her beneath her black cotton panties is overlaid on top of this one in a smaller frame. And in this way the film continues in an almost constant use of cutting with pictures added on top of each other, alternating from color to black-and-white to color. A woman begins to speak-sing along the classical guitar being played. The insistent recitation of the woman, then by a man, both on top of each other, underscores the intensity in the quiet passion between the two. The explicit glimpses of cock and pussy in the midst of all the softness\’skin, touch, bodies embracing, intertwined\’give an almost circular effect. She rides him, he takes her. There is no beginning or end, “it turns and turns again, harmonizes the woman on the soundtrack.

The one-minute long “foolin’ is the shortest and probably sweetest vignette: a smiling nostalgic snapshot of a young couple. She laughs, her long straight hair dancing around her face, no French/Belgian chic  lingerie here, just simple cotton underwear; the two could be taken from a Gap commercial. It’s all so loving, tender, and playful, the sound of children laughing on the circus parade-ish soundtrack; in the midst of it all, their bed collapses, laughter and applause ensue.

“le grand appetit (the big appetite) is completely different: a piercing synthesizer music with a male voice spitting out his words brings us into a modernistic room with black and white leather furniture. Whereas the floating pictures in “foolin’ had a soft retro filter around them, this is filmed in rather glaring naturalistic real time. Even when the picture shifts from color to black-and-white, and the filming spins and speeds up, the impression is brutally naturalistic. The film portrays sex between two women and two men, their faces erased with blue marker as if to signalize something taboo. Otherwise the pictures are explicit, raw.

“j’ai rendez-vous avec vous (i have a date with you) also features group sex, but a happier kind, more life-affirming. The soundtrack, “beats of heart, is also playful. A young woman sings: “one two three, five six seven, me and my baby go to heaven. One two three, five six nine, me and my baby gonna have a good time. La la la, la la la, la la laaa. A girl and two boys are sitting in an intimate park gazebo, talking, laughing, one of the guys grins to the camera. In the next scene the three are in a jacuzzi, she between the two guys, kissing to her left and right, before they all move into a big bed. They make out, fool around, she gives one of them a handjob while she’s being licked and fingered by the other. Then she has sex with each of the boys one at a time while the other’s lying next by, watching, waiting. Smiles and laughter, sighs of pleasure.

The last film, “moodmidnight, features, as I said, a rougher kind of lesbian sex than the first vignette, here between two tattooed voluptuous black haired women. But the picture is nostalgic in an almost yellowing black-and-white. And there’s a romantic flair over the setting: the soft wallpaper, crocheted bed blanket, flowery bed headboard, and grandmotherly lamps on the mahogany night tables. The music is also at first mellow, and though it becomes increasingly raw and intense, it keeps to a slow rhythm, but with a harder guitar play. Ominous notes are also introduced as the camera moves over instruments and sex-toys as their sex takes on more of a BDSM character with spanking, rough pumping, and deep fisting. But the atmosphere remains affectionate with laughter and smiles, and they conclude with tender kisses, before wiping themselves dry with tissues. In the concluding shots, the two take off their wigs and corsets, and leave the bedroom, the picture fading out.

The style of Scherre’s films reflects her side gig as a DJ as well as her trendy sense of design that has made her vintage inspired, upscale lingerie so popular around the world among a hip, alternative young crowd in particular, including numerous celebrities, such as Lady Gaga. Representing in fact a lifestyle brand more than just a lingerie company, the growing collection of Scherre’s La Fille d’O now also includes shoes, jewelry, and more. Online, La Fille d’O features Scherre’s sexy, untouched up photo, video, and poetry art; in part modeling merchandise, in part an extension of her new porn. Scherre often models her own work.

(This post is an excerpt from my book After Pornified: How Women Are Transforming Pornography & Why It Really Matters, forthcoming fall 2012.)

Quizzical Mama

Quizzical mama, aka Anne G. Sabo, PhD, is a former academic turned public educator, author, speaker, freelance writer, and mama- and sex blogger. Her book After Pornified: How Women Are Transforming Pornography & Why It Really Matters (Zer0 Books, October 2012) has been called “a goldmine for all sex-positive women and men,” and a “candid, well-informed personal story of how a good girl became involved in porn." She writes mores about progressive porn and sex-positivity in her New porn by women blog and at her resource site Love, Sex, and Family, and she muses about life and parenting in her Quizzical mama blog. She lives in Northfield, Minnesota, a small college town just south of the Twin Cities, with her spouse and their preschooler daughter. You can follow her on Facebook or on Twitter @quizzicalmama.

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