The Idiots is a 1998 Danish black comedy/drama written and directed by Lars von Trier, shot under the rules of the Dogme 95 manifesto.
The semi-mockumentary film concerns a small group of people who pretend in public to be mentally disabled, which they call “spazzing”. They do this as an elaborate prank, as a kind of performance art, as a passive-aggressive attack on society (épater les bourgeois), and for other reasons. Rotating members of the group play “the minders”. Karen, a seemingly lost woman, is swept up in the group and stays with them.
George Costanza: [In a depression clinic] I should be in a place like this. I envy this woman. You get to wear slippers all day. Friends visit. They pity you. Pity is very underrated.
Seinfeld, S03E02 “The Truth”
I discuss this film because it brushes up against certain expressions of masochism, particularly those that involve public roleplay and abjection. We know that Hannah Cullwick and Arthur Munby often did public roleplay, as did Leopold von Sacher-Masoch and Aurora Rumelin. This connects with the kink of disability fetishism, such as the creative works of “Paracathy“, as well as certain forms of ageplay.
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Ask any kinky person where they got their first hint of BDSM desire, and chances are they will name something from mainstream film or television: Catwoman or Emma Peel on 1960s TV, the whipping scenes in gladiator movies, the damsels-in-distress in a thousand melodramas. Generations of fans found these scenes of fetishistic pleasure and assembled them into collections, piecing together a history of sadomasochistic moments.
The Celluloid Dungeon uncovers the hidden history of BDSM in the mainstream media, a complex dance of repression and desire. For every step to expand the visibility of kink on screen, there’s an equal and opposite reaction to contain it. Popular successes like Secretary or Fifty Shades of Grey show kink, but only the most conservative form of it.
About the Presenter
Peter Tupper is a Vancouver, BC writer and historian. He is a two-time winner of the National Leather Association’s Geoff Mains award for non-fiction, a co-founder of Metro Vancouver Kink, and author of A Lover’s Pinch: A Cultural History of Sadomasochism (2018). He has presented at events across North America on the history of BDSM. He blogs at www.historyofbdsm.com
Date: Sunday, May 18, 2025
Time: 3:00 PM – 5:00 PM
Time Zone: Central Time – US & Canada (change)
Location: LA&M Etienne Auditorium,
6418 North Greenview Avenue
Chicago, Illinois, United States
Babygirl is a 2024 drama directed by Halina Reijn and starring Nicole Kidman, Harris Dickinson and Antonio Banderas.
Romy (Kidman) is a corporate executive in an automated shipping company. She’s also the mother of two teenage daughters, and wife to her stage director husband Jacob (Banderas). One montage shows that she subjects herself to exercise and cosmetic treatments, like botox.
Her backstory is that she was raised in hippie communes, but went into the corporate world, and brings her smartphone to bed with her. Much of her job appears to be performing prepared scripts for corporate videos, full of neoliberal buzzwords. She puts a human face on what is basically an inhuman process, represented by shots of blocky robots working in an automated warehouse.
The pressures of Romy’s seemingly ideal life leave her stretched thin. After faking an orgasm with her handsome and loving husband, she tiptoes to her home office, plays maledom/femsub porn on her laptop, and masturbates while covering her own mouth.
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After Fall, Winter is a 2011 drama film, written by, directed by, and starring Eric Schaeffer, along with Lizzie Brocheré.
Michael (Schaeffer) is an American writer who is borderline suicidal because he is $600,000 in debt and struggling to sell his next book. On impulse, he takes a friend’s invitation to travel to Paris for the winter holidays. He also sees a pro-domme for humiliation.
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Shadow Hours (2000) is an independent drama film written and directed by Isaac H. Eaton and starring Balthazar Getty, Peter Weller and Rebecca Gayheart. IMDB
Michael Holloway (Getty) is a recovering drug addict who works the night shift at a Los Angeles gas station. He’s trying to plan for the future with his pregnant wife, Chloe (Gayheart). The pressures and isolation of his job push Michael towards using again. One night, Michael meets Stuart Chappell (Weller), a wealthy, mysterious stranger who claims to be a writer. Stuart takes a liking to Michael, buys him a new suit, and pulls him along on nightly expeditions into the dark underside of the city.
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Fern River Cub, Come-In (Part 2)
Jerusalem Mortimer, In the Realm of the Sensei – Prologue 5
Peach Kisser, Mid-Flight Hospitality
Simone Francis, Fetish Secretary
Ambyr Leigh, My Terrible Date Fucked Me Bareback In The Backseat Of His Car
Schey Place Books, The Story So Far
Natalie Hepburn, Surviving a Dead Bedroom
Tantric Sexual Healing, Tantric Erotism and the Transcendence of the Ego
Miss Ruby Reviews, A Decade in the Sex Toy Industry
Modesty Ablaze, Modest 50 Sexy Questions – 6 to 10
Awakening Your Inner Essence, The alchemy of surrender and activation
Morgan Destera, TOY TEST – Twisted Beast Marchosias
Oh Joy Sex Toy, The Uberrime Fantasy by Hien Pham
Sydney Screams, FemmeFunn Klio Vibrator Review
Liz X, Beyond Ordinary Stimulation – Kiiroo ProWand with App Streaming
Lushense, Introducing the Viballdo – The World’s 1st Vibrating Ball Dildo
Cara Sutra, How A Woman Gets Pleasure From Pegging Men & Strap-On Sex
Lady Ava Sheridon, The Application Process; and why yours might be unsuccessful
Kristina J, Authenticity and Connection: The Art of Being Real in Sex Work
Princess Kaz, Dommes – Carving Out You-Time
Miss Kim Rub, Leather Fetishist Domme
Sex Worker Search, Are Sex Workers Welcome on Bluesky?
History of BDSM, “People Who Like Kinky Sex Are Just Bad In Bed”: Evie Magazine and the Raw Milkmaid Dress
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Salò (1975) was written and directed by Pier Pasolini as an adaptation of the notorious pornographic novel, The 120 days of Sodom, written by the Marquis de Sade while in the Bastille. It was part of the Naziploitation film boom in the mid-1970s. It was also Pasolini’s last film, released three weeks after his murder.
This movie will bore you, horrify you, or both.
Pasolini transplanted the story to Italy in the last days of WWII. Four fascists marry each other’s daughters, and form a covenant. They select a group of beautiful young women and handsome young men, some armed enforcers, and some elderly brothel madams, and seal themselves up in a chateau.
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