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The second installation of the erotic film festival SinCiné CineKink took place over three days in mid-April and screened 20 films, ranging from three-minute shorts to 90-minute documentaries, from "art films" to animation.
On opening night, guests were treated to spicy hors d'oeuvres courtesy of Sylvia's Soul Food in Harlem and they washed them down with Sassy Raspberry Cosmo drink specials. The theme was "Sublime and Subliminal" and the screenings started with Faiyaz Jafri's 3-D animated short Helen of Troy. Holly Dagger's digital eye candy short Neuroscape followed, a dreamy, goddess-centric pastiche of stellar imagery. Both filmmakers fielded questions from the audience. Pornographic Apathetic, a six-minute satire directed by T. Arthur Cottam, poked fun at bad porn dialogue and had everyone cracking up till the mood segued to sexy with Juneyup Yi's Busy, a lovely nine-minute black-and-white piece about infidelity. Touched, by Chandler Pohl, spotlighted a chronic masturbator, and Pornoqatsi, by The Bengala (Gala Verdugo and Benjamin Tischer) strung together porn clips in an amusing manner, accompanied by a Phillip Glass soundtrack.
Monday night's burlesque acts included Nasty Canasta and Gigi La Femme. Monday evening began with the exuberant Freedom Sea, a plushy romp in the park with director Missy Galore and her furry friends, accompanied by her musical stylings. Flapper? (I Hardly Knew Her!) followed, a nine-minute erotic comedy "period piece" by Emily Sweeney that gave us a little girl-girl action. Yusuke TL Iwasaki's Fluid examined a bisexual love triangle and the emotional pitfalls of an open relationship. David Finkelstein's All Love Is Sweet was a 10-minute experimental art film of computer effects, sighs and music, all of which added up to an erotically evocative aural experience.
The final film was Womb Raider, directed by Randolph Scott. It was a 90-minute pseudo-satire of Lara Croft: Tomb Raider, complete with B-level Playboy models. Lauren Hays played Cara Loft and emoted about as much as the ancient stone icons the characters were in search of. Clearly, an impressive amount of money was spent on costumes and locations, but between the lousy dialogue and lackluster acting, the end result is laughable. And it just figures that this is the one film out of the entire festival that's actually received mainstream exposure-if you call an adult cable channel mainstream. Closing night kicked off with Saliva by Pandora Castelli. This short examined the shortcomings of a frustrated husband's attempt to satisfy his wife's sexual needs. Rene H. Hernandez's A Dark Tomorrow was a 15-minute study of the dangers of online dating and the eventual comeuppance of the evil sexual predator. This entertainingly dark morality tale couples sex and violence to alarming effect. Good Feather, directed by Tiffany Doesken, is a lovely black and white art film that is more sensual than sexual, but is an engaging piece of eye candy. Night Moves, a 50-minute documentary on the Tampa Nightmoves convention, directed by Aaron Wells,
After the burlesque finale, starring Roxie Del Negro, Anita Cookie, Gig La Femme, Nasty Canasta and Khadijah Al Vegas, Melissa Ulto awarded prizes in the following categories: Best Experimental - The Bengala's Pornoqatsi; Best Animation - Faiyaz Jafri's Musical Box; Erotic Spirit - Jeffrey Lei's Dick How, Asian Porn Star; Best Long/Documentary - Elizabeth Elson's Born In A Barn; and Best Shot/Experimental - Aaron Hawks's Salt. Overall the festival was both entertaining and eye-opening, if not slickly produced. Ms. Ulto promises next year's event, inexplicably themed "Sex, Drugs & Rock 'n' Roll," will be bigger, better and sexier! Click on www.SinCineFest.com for updates and to submit films. You can also read our review of the first annual CineKink here.
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