Analogies is the follow-up to Phallacies. Not a simple sequel, but a spiritual one that expands the movement’s boundaries and directs our gaze toward the most demonized, fetishized, and repressed territory of bodily representation: the anus. An organ that cinema has always relegated to the shadows, amidst moral censorship and hypocrisy, and which here instead becomes the nerve center of a radical discourse on the body, politics, and aesthetics.
A collective of visionaries at the service of the obscene
Leading this bold choral project is a collective of seven independent authors, some of whom were already protagonists of the first operation, others new faces ready to leave their mark:
Jake Valentine (Phallacies), the creator and driving force behind the Analogue Cinema movement, continues his systematic deconstruction of the moral conventions that enshrine cinema. With ANALOGIES, he further strips the seventh art of its hypocritical armor, forcing the viewer into a direct confrontation with the obscene as a political and aesthetic act.
Domiziano Cristopharo (Red Krokodil, Museum of Wonders), a director already known for his forays into extreme and visionary cinema, brings to the stage a hallucinatory tale of hypochondria, where the obsession with one’s behind turns into paranoia but also, paradoxically, into liberation.
Adam Ford (Torment) constructs an allegory of the digital age: a curious influencer who literally loses his mouth, a powerful metaphor for silenced desires and performative identities in the age of social media and compulsive communication.
Emanuele Marchetto (XXX Dark Web) takes us on a psychological and intimate journey, suspended between dreamlike dimension and exhibitionism, where the unconscious itself becomes a stage and the psyche becomes a spectacle.
Tibor Astor (XXX Darknet: Red Lips), Jon Devlin (Erecting a Monster) and Pete Lankston (6 Songs) complete the mosaic with visions that intertwine grotesque, musical and extreme elements, composing a choral fresco where each voice maintains its own identity while dialoguing with the others.
Not pornography, but political dissection of the obscene
ANALOGIES forcefully rejects the reductive label of pornography or gratuitous
provocation. The operation that Valentine and his collective undertake is something deeper and more complex: a true dissection of the obscene.
The body-in its most hidden, denied, and repressed parts-is dismantled, reassembled, and politicized. It becomes the instrument of a discourse that spans aesthetics, identity, desire, and power. A collective cry, deliberately dirty, brazenly desirous, totally exposed, that does not seek scandal as an end in itself but pursues a more ambitious goal: liberation.
Liberation of the gaze, of the body, of desire. Liberation from the moral hypocrisies that continue to dictate what can and cannot be shown, what is art and what is obscenity, where aesthetics ends and pornography
begins.
youtube.com/watch?si=olQklOoQafAdZfR_&v=WxxcH177BCE&feature=youtu.be
