Photo caption: Lexie Mountain in ADVENTURES IN SUCCESS. Photo courtesy of Nashville Film Festival.
The broadly comic Adventures in Success traces the misadventures of a self-help retreat center led by Peggy (Lexie Mountain), a self-described energy transformationist. Peggy claims to have experienced a 12-hour orgasm. Her movement is centered on the female orgasm, the mantra is Jilling Off, and the sessions are essentially orgies where men are not allowed to ejaculate.
Of course, Adventures in Success sends up self-help movements, New Age affectations, and, especially, would-be cult leaders. As Peggy, Lexie Mountain projects a demented self-assurance.
The comic tone is set early – the opening shot is an impressive 28-second performance of urination art.
ADVENTURES IN SUCCESS. Photo courtesy of Nashville Film Festival.
There some inspired LOL moments, but Adventures in Success is not a laugh-a-minute. It runs out of energy when the group takes a final, doomed bus trip to Vegas.
Cinequest hosted the world premiere of Adventures in Success; I screened it for the Nashville Film Festival. Adventures in Success is streaming from Amazon and AppleTV.
A very young Pedro Almodóvar’s 1980 Pepi, Luci, Bom and Other Girls Like Mom. This is early Almodovar – zany and ribald, even transgressive. The filmmaking craft is very rough (and very low budget), but Almodóvar’s signature energy and vibrant colors are already there. Fun rock music sets the tone from the get go in the title credits.
The humor is outrageous, embracing that of the very first American gross-out comedies (The Groove Tube and The Kentucky Fried Movie) and taking a step (or a few) farther:
A penis-measuring contest as a party game;
The question of whether a cop’s wife can become a punk band’s groupie;
Panties that turn farts into perfume;
Cops baited into a narc raid on a plastic marijuana plant;
Perhaps the dirtiest pop pseudopunk song ever: I love you because you’re dirty; Filthy slutty and servile.
The protagonist starts out as the party girl Pepi, but the story evolves to center around Luci, the wife of a brutish cop. As Luci is debased by more and more characters, becoming a human piñata, it is revealed that she is a masochist who actually is attracted to and pleasured by the meanest behavior. [SPOILER: There’s even a Golden Shower early in this story thread.]
Viewing through today’s lens, the movie violence against women no longer works as comedy, even though the character who is debased is a masochist and the rape that spurs the revenge theme is clearly intended to be broadly comic.
This is Almodóvar having fun being naughty. His most profound work was still two decades in the future: Talk to Her, Bad Education, Broken Embraces.
I watched Pepi, Luci, Bom and Other Girls Like Mom on TCM, and you can stream it from Amazon, AppleTV, Vudu and YouTube.
Isabelle Chester and Sam Sonenshine in THREESOMETHING
In the cheeky and original comedy Threesomething, Charlie (Sam Sonenshine) and his buddy Isaac (James Morosini) invite Charlies’ friend Zoe (Isabelle Chester) to engage in a three-way sexual encounter. That pitch alone is one of the funniest three-minute, fifteen-second, openings to a film I’ve seen in years. But then Threesomething finds the ridiculous moments in both the sex itself and in the all-consuming passion of new infatuation. After a crisp 72 minutes, Threesomething‘s ending is very fresh and non-formulaic, posing just enough ambiguity about the characters’ futures.
Co-writers Morosini and Sonenshine have identified the comic possibilities within the notion that a threesome is more or less symmetrical. Let me explain it this way. What if your idea of a threesome is three participants, but it evolves into two participants and a spectator?
Lust and love are such ripe sources of comedy because we humans are our most ridiculous when we are the most absorbed and single-minded – and that is definitively the case while having sex. And everyone’s sexual fantasies and fetishes – even if shared with one’s sexual partner – are laughable or creepy to someone else. Threesomething reaps the laughs from these situations without being sit-commy.
This is the Are you good? generation. Threesomething’s commentary on the compulsive over-checking in and over-supportiveness is all very sharply witty. And over-sharing is the core of Charlie’s relationship with his mother (Dru Mouser, who steals all of her scenes).
Sonenshine is just about perfect in his reactions during the threesome. He is fantastically gifted at playing both awkward discomfort and contained frustration.
Chester’s performance has several highlights, beginning with Zoe’s takes on the initial proposition and a particularly ill-timed outburst of weeping (inspired). As the story concludes, watch Chester’s face as Zoe considers and reconsiders how comfortable she really is in her choice of partner(s).
Threesomething is Morosini’s directorial debut and the first feature screenplay for both Morodini and Sonenshine. Comedy is hard to write, especially comedy as smart and original as this. I saw Threesomething’s world premiere at this year’s Cinequest. It is available to stream on Amazon, iTunes, Vudu, YouTube and Google Play.
Isabelle Chester and Sam Sonenshine in THREESOMETHING
In the cheeky and original comedy Threesomething, Charlie (Sam Sonenshine) and his buddy Isaac (James Morosini) invite Charlies’ friend Zoe (Isabelle Chester) to engage in a three-way sexual encounter. That pitch alone is one of the funniest three-minute, fifteen-second, openings to a film I’ve seen in years. But then Threesomething finds the ridiculous moments in both the sex itself and in the all-consuming passion of new infatuation. After a crisp 72 minutes, Threesomething‘s ending is very fresh and non-formulaic, posing just enough ambiguity about the characters’ futures.
Co-writers Morosini and Sonenshine have identified the comic possibilities within the notion that a threesome is more or less symmetrical. Let me explain it this way. What if your idea of a threesome is three participants, but it evolves into two participants and a spectator?
Lust and love are such ripe sources of comedy because we humans are most ridiculous when we are the most absorbed and single-minded – and that is definitively the case while having sex. And everyone’s sexual fantasies and fetishes – even if shared with one’s sexual partner – are laughable or creepy to someone else. Threesomething reaps the laughs from these situations without being sit-commy.
This is the Are you good? generation. Threesomething’s commentary on the compulsive over-checking in and over-supportiveness is all very sharply witty. And over-sharing is the core of Charlie’s relationship with his mother (Dru Mouser, who steals all of her scenes).
Sonenshine is just about perfect in his reactions during the threesome. He is fantastically gifted at playing both awkward discomfort and contained frustration.
Chester’s performance has several highlights, beginning with Zoe’s takes on the initial proposition and a particularly ill-timed outburst of weeping (inspired). As the story concludes, watch Chester’s face as Zoe considers and reconsiders how comfortable she really is in her choice of partner(s).
Threesomething is Morosini’s directorial debut and the first feature screenplay for both Morodini and Sonenshine. Comedy is hard to write, especially comedy as smart and original as this. Cinequest will host Threesomething’s world premiere.
Alma is pushing 16 and lives in rural Norway, in a tiny community so remote that her mom works in a turnip factory. Her hormones have been unleashed, and she can think of nothing but sex. She spends her free time having poignantly innocent (and incomplete) sexual fantasies, masturbating and running up phone sex bills. Her schoolmates misinterpret her encounter with a boy and ostracize her as the village slut. So begins this wise, sympathetic and funny Norwegian coming of age comedy.
The humor comes from the film’s knowing view of human nature and, especially, of teenagers. One of Alma’s pals aspires to move to Texas and end capital punishment by raising awareness. For another, no amount of lip gloss can be enough. None of them can figure out how to pilot their budding urges without embarrassing awkwardness. And all the while, Alma’s beleaguered mom tries to figure out what to do with her.
The laughs are mostly chuckles instead of guffaws. Turn Me On, Dammit! is only 76 minutes of long, which is just the right length for this story. It’s a good-hearted and funny movie.
