Me: Avant-garde Porno Mom, can we have Blade Runner?Avant-garde Porno Mom: No, we have Blade Runner at home.Blade Runner at home:
Reiko ist ein Cyborg. Ihr Job besteht darin, Daten für eine große Orgasmus-Datenbank zu sammeln. Ihr Arbeitgeber, die GENOM Corporation, will damit virtuelle Sex-Erlebnisse vermarkten. Als Reiko sich in einem Nachtclub mit dem rätselhaften “Tokyo Rose” Virus ansteckt, scheint ihre Mission mitsamt allen Daten verloren zu sein. Doch ein System-Restart und eine wilde Affäre mit dem Stricher Akira laden ihren I.K.U.-Chip wieder auf.
I.K.U. läuft derzeit in keinem Kino.
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Me: Avant-garde Porno Mom, can we have Blade Runner?Avant-garde Porno Mom: No, we have Blade Runner at home.Blade Runner at home:
watched the directors cut tonight at facets, presented by alterotics/preceded by their new short film/followed by a q&a with Shu Lea Cheangso hilarious, sexy, weird, and brilliant. truly one of the most mesmerizing and hypnotic pornos i’ve ever seen. stunning visual effects. of the era but strangely timeless? idk. it’s so clearly being made in 2000 but the aesthetic is so seamless and mythic that it feels like a movie from another dimension. the fisting sequences with the arms becoming weird long tongue-cocks 🥵 i was obsessed with the sound design - full on Tim and Eric squish sounds and such a sexy and synthy sci fi auralscape. the car door opening/sounding like a spaceship hatch 🤯 love that shit. the camera work is GENIUS. like next level. plot is so experimental but you just feel the narrative on an emotional/intuitive level that is unmatched by really anything i’ve ever seen. like any good sci fi, the world outside the frame just feels so dense. the bladerunner inspired ending honestly made me choke up. this movie is better than bladerunner. bladerunner doesn’t have dickguns and cumshots with koi tank overlays. i just love watching people fuck and when you bring this level of artistry to it, it’s actually sublime. like divinely inspired. i hope the directors cut finds a release of some sort some day. this is a world i want to revisit as much as possible.
THE BIO DISK IS FULL OF ECSTASY DATA!Haha. Holy fuck. I can't believe this played at Sundance. I.K.U. is one of the most insane and horniest films I've ever seen. It's like Blade Runner with a boner and a hearty injection of hardcore porn and Liquid Sky. An experimental mindfuck filled with science-fiction sex and computer-generated dildo hands. This is one of the best examples of a video aesthetic I've seen. With its neon colours, electronic score, and ridiculous digital effects, this could not have worked on film. It looks amazing. The camera is in a permanent state of arousal. It spins around performers, flipping about at all angles, warped and fucked up. It gets horrifically close to the actions, genitals pushing into the lens. And often the screen explodes into video art that feels somewhere between Tim and Eric and a 90s music video. The sex is equally colourful and deranged. A fever dream of fucking. Digitally created shots from inside bodies showing dick-fists making their entry. Fish getting in the way of the action (and their gawping mouths hilariously dubbed). Bodies flickering into CGI forms. Blow up dolls getting in the way of boning. This pushes sex to such frantic, delirious extremes. I can safely say I have never seen a film like this.
Es folgt einem kybernetischen Organismus, der programmiert wurde, sexuelle menschliche Daten über verschiedene Körperformen zu sammeln, bevor er versucht, sich der Konzernkontrolle zu entziehen.
Es wurde 2001 von Shu Lea Cheang als avantgardistisches Science-Fiction-Kunstprojekt inszeniert, das Cyberfeminismus erforscht.
Der Film wurde auf dem Sundance Film Festival uraufgeführt und später hauptsächlich in Kunstmuseen und bei Spezialvorführungen gezeigt.
