As co-head of the film department, much of my time is spent in intimate contact with my DVD remote, critiquing recent releases for your and inevitably my pleasure. Therefore, when a carrot was dangled in front of my nose in the form of a press pass to the CineKink festival NYC’s self-proclaimed ‘ really alternative film festival’ I jumped at the opportunity. So, on a Saturday night, I was on my way into the Anthology Film Archives prepared for an evening of entertainment. After a brief conversation with Lisa Vandever, the events coordinator, I was on my way into the very comfortable and private viewing space.

The list of films encompassed such an incredible roller coaster ride of intellectuality and emotion whether admiring the very clinically represented Power and Love by Gabrielle Hoff, Psy. D., a researchers video-based investigation of one couples use of power dynamics in relationships; Sullivans Last Call, a film noir-ish short exploring one mans decision to be celibate and the old flame who talks him out of it; Eric Werthmans Going Under, the terrifying intersection of real life meeting fantasy when a married psychotherapist falls for the dominatrix hes been visiting for years; or, Pornology, Michele Capozzis documentary on the underground scene in NYC circa 1980.

Sullivans Last Call creates a throwback feel with its grainy black and white and echoed soundscape, not to mention the sultry looks of co-star and director Francesca Rizzo, whose smooth, husky voice, femme-fatale antics and previous fictional history with co-star Steven Mark Friedman, drag him, kicking and screaming through the burrs and brambles of human interaction, away from his two-year long adherence to a life of celibacy and back into the fray of sexual intercourse with the haunting line of, Do you wanna get sticky?

After Sullivans Last Call, I found myself face-to-face with eminent fetish photographer and free speech activist Barbara Nitke, who was gracious enough to grant me an interview. We spoke on several topics, including her ongoing court case: Nitke v. Gonzales. She describes herself as incensed about the politics of the country in terms of the fetish community, specifically the Communications Decency Act which has spurred things like the now-active FBI squad whose sole purpose is to seek out and prosecute individuals and organizations that produce material considered obscene.

Nitke, whose ex-husband was prosecuted three times after he filmed and released the original The Devil in Miss Jones, had the following to say about responses to erotica from the federal level.

Barbara Nitke: Ive lived through this previously. There will be a couple of high-profile cases that will lead to intimidation and people will be afraid to produce material. Its like how the IRS operates: its effective and annoying to see them do it again.

SexHerald: Im sure youre aware of the fact that Fetish Diva Midori has taken down her very popular BeautyBound.com. What are your thoughts on that?

Nitke: Im really upset. I dont know the details, but Im sorry to see her do it. I just tried to call her, but then I realized shes in Germany, so I left her a message. I just want to say to my community, please keep your websites up, keep your pride up, keep yourself out there, if you can. I feel like theyre trying to push us underground again. Some people are not going to be able to take a hit. But, if you can take a hit and survive and fight back, then do it. We should be supporting anyone thats getting attacked because of this censorship.

SH: Any final thoughts?

Nitke: I think its important to support groups like the National Coalition for Sexual Freedom; theyre like GLAD or ACT UP to go back to the analogy of the gay community. Theyre out on the front line. When play parties get busted, thats whom they call, and theyre my co-plaintiff in my lawsuit. And finally, just keep yourselves out there and visible. Dont let them push us down.

The nine oclock slot was filled with Eric Werthmans feature-length production Going Under starring Roger Rees. Not since Shainbergs Secretary has a film so accurately and provocatively captured the subtleties of human emotion inside of an S&M relationship. The film itself is shot in crystal-clear digital and many of the scenes are out in the open air of Manhattan in late spring and early summer. The film explores the delicate sensibilities of a professional dominatrix-turned-private citizen and disturbingly complex relationship into which she falls with the already married psychotherapist client who is determined to see her on the outside the very moment she leaves her post in the dungeon.

The parallels between films like Barfly or Leaving Las Vegas are abundant in lines like: We have emotions, too or That would be against the rules though there is inherently more to Geno Lechners Suzana than simply a hardened veneer covering a soft center. She is conflicted within herself as she is forced to throw a harsh light on a lifetime of male hatred turned upside down by her deepening emotion for Rees Peter. Suzanas moral dilemma comes to a head after she entreats Peter to drive to her mothers house after receiving news of her mothers cancer diagnosis. She invites him upstairs after their return to Brooklyn, and the viewer is led to believe this will be the final catharsis. But, her now softened exterior belies the yet impervious barrier to the core, preventing even the slightest entrance through any portal. She escapes the situation for only a short time only to return, her shirt unbuttoned to the waist, ready for a second try, as she allows him to press into her, kiss her, and the second he slides his hand between her legs, she collapses, shaking, to the floor.

Werthman gets additional kudos for making his characters multi-faceted and transparent at the same time. Suzana is an aspiring painter, using plates from books that Peter has gifted her as inspiration for a series proudly displayed across the exposed brick of her apartment in the shadow of the Brooklyn Bridge, and he is a man wrought by his passion for both his loving wife and the demanding dominatrix to whom he is devoted.

Pornologist: n., s. to be an expert of porn

Pornt: n. anything that has to do with the mystification of the body, but especially that which has to do with being inside the world of pornography.

-Diccionarius Capozzius

Pornology is Michele Capozzis paean to the late 70s & early 80s in the underground scene in NYC. Told in a witty, wide-eyed style that can only be described as Capozzi-esque, there is a plethora of imagery and storytelling that goes on, chronicling exploits, discussing philosophies and lamenting of lifestyles lost. Local celebrities Lenny Waller of Hellfire fame, former pornstress and current owner of Den of Iniquity Porsche Lynn; erotic artist R.C. Horsch; and the filmmaker himself were on hand for the productions debut. Shot alternately with low-end handhelds and higher-end cameras available at the time, then edited together to tell the tale from multiple angles (like the camera angle button popular on many adult videos presently), Capozzis film is as much a tribute to his friends he calls family as the underground scene itself. Post 9/11 New York, the current government and the countrys prevailing opinion about sexuality and perversion are all impeding factors to continuing the lifestyle as it was. I was able to speak with Michele and question him at length about his production. Being a resident of NYC since 1978 when he immigrated from Italy, Michele has seen the ins and outs of New York during its evolution over the past decades, living part-time on his sail boat at the 79 th Street pier.

SH: What inspired you to create this film?

Michele Capozzi: I had been going to Hellfire for 10-15 years. I used to live there or with Neville in the winter and I started feeling that Fuck Factory and Hellfire would be closing soon, so I got the urgency to film these places before they disappeared. So, we gave a private party at Hellfire, everyone signed a model release form, knowing they were going to be filmed. The party was shot trying to recreate the Hellfire before 1985. On the other hand, the Fuck Factory scenes were going back in time. We literally filmed for one day just everything that happened. There was no scripting at all, in any of the film, I need to emphasize that. So we were at Fuck Factory with different cameras, as you can see different people picked them up, Neville, some of the actors, myself. It is very experimental in filmmaking. But then, because between Lenny, Neville and I were 180 years old combined, I decided we needed a beautiful young girl in the film and it just so happened that Porsche Lynn was in town, she is a good friend of mine, and she jumped on the project. Also, I wanted to have a female editor as young as possible, but obviously over eighteen. She had to be somebody who had never before worked in porno, someone with a fresh eyes because Ive done everything, so I chose Jackie Schulman, and I think she did a marvelous job.

Lisa Vandever, the organizer and co-founder of Cinekink, granted us some time to answer our burning questions. Cinekink was operating shortly after her recent wedding, which served as a visual segue between each film intermission.

SH: How did Cinekink come about and how long have you been involved?

Lisa Vandever: I've been around since the very beginning. It originally grew out of my involvement with the New York S&M Film Festival, which ran for a few years previously. I saw that there was a real hunger for films that dealt with kink in a positive manner and treated its audience as intelligent beings. I also saw a place to create a niche for myself, combining my background in independent film with my interest in alternative sexuality and also with a growing sense of activism.

SH: What are some of the selection criteria for films that make it into the festival?

Vandever: As with any film festival, we look first at the films quality. Does it tell its story well? Is it compelling? Is it well-crafted? And then we look at the additional component: how does it handle kink? From there, we mix and match works for the best flow overall and a good balance of orientations and proclivities.

SH: This year you had a panel of judges to select winners of the prestigious CineKink awards. Who were they and how did you come to choose them?

Vandever: Our jurors this year included filmmaker Elizabeth Elson, who won a CineKink Choice Award last year for her documentary Born in a Barn; Thor Stockman, the creator and presenter of the popular film clip program S&M at the Movies: The Good, The Bad and The Ridiculous; and Bill Woods, a film festival programmer and curator of the New Filmmakers series at Anthology Film Archives. I'd worked with each in different capacities and was very delighted to give up that responsibility and place it into their very capable hands.

SH: Any final words?

Vandever: Just how wonderful it was this year, watching CineKink finally hitting its stride. From the wealth and diversity of films that were submitted, to the jumps in attendance, to the enthusiasm of the audiences the event is finally starting to become everything I'd envisioned. I (almost) can't wait until next year! (Just let me finally get my honeymoon in first.)