The Lickerish Quartet

So where does the film lead us? "Into darkness, where we begin and end"; where the projection starts and ends; where the circle begins and ends, its circular movement of devouring, transforming, and expelling protecting nothing and no one. "Things change. That's the only thing you can rely on." Things and people. Desires and dreams and memories of them and ourselves; the only thing that doesn't change is the medium through which everything passes in its transformation: the purity of the indestructible Sublime, whether as the personification of pure corporeality or the hunger of the perfect sexual body that devours, or its sublimated version - the necessary other side of the same coin - the sacred purity that was not changed even by being eaten by a libido dragon. A film about forgetting that I myself am a devoured and expelled product of my constantly changing past, and a film about a film, whose climax is the movement back when rewinding the reel backward, at the beginning of which a completely different film is played out again, in which the original protagonists are devoured and expelled by their own fantasies. Last but not least, European art is devoured and expelled by the emerging dawn of pornographic or exploitative cinema in the form of the wisdom of books, reducible to a dictionary of copulation as mere scenery for sex itself, and in the necessary circular inversion, the seemingly soft-pornographic film is transformed into a form that pushes the boundaries of narrative conventions rather than the boundaries of sexual intercourse. (02.05.2021)

This is an erotic art movie, and a visually captivating bizzarro. Each camera shot is a colorful, playful treat. It is difficult to get a clear grasp of the plot, the audience has to let itself get carried away by the visual stimulations, the primeval tone, and the sultry close psychological atmosphere. (02.05.2021)