In this erotic fantasy, when a naive young woman inherits a wax museum, she's shocked to discover that her family legacy is no ordinary tourist trap. more
In this erotic fantasy, when a naive young woman inherits a wax museum, she's shocked to discover that her family legacy is no ordinary tourist trap. Statues from all periods of history come alive -- and come together -- when supernatural sexual amulets are placed around their necks. The action heats up when the world's most memorable mythical figures engage in a love-fest that's truly one for the ages. close
A frustrated office worker gets his hands on a magic pill that makes him sexually desirable to women. This was first released to theaters in a soft-core more
A frustrated office worker gets his hands on a magic pill that makes him sexually desirable to women. This was first released to theaters in a soft-core version titled Heads or Tails. In the mid 70s to capitalize on the rise in popularity of hardcore, the original film was hacked up to make room for more explicit sex inserts. This X version is titled Honey Buns and is currently the only version commercially available. close
Prouvost employs the rhetoric of conventional forms of narration to blur boundaries between the viewers’ perception of the fictional narrative and the more
Prouvost employs the rhetoric of conventional forms of narration to blur boundaries between the viewers’ perception of the fictional narrative and the reality of the installation. The rhythm and pace of the editing in her films undermines any straightforward attributions of meaning while at the same time retaining an alluring and beguiling quality. Not to be perceived as a ‘set’ but rather a cacophony of film, painting, sculpture, text and sound, the physical elements in the installation of The Artist become the characters for the ‘film’ and the audience faced with so much information, (a dog barking, a voice calling, ‘to look here… no here!’, heavy blankets and paintings suspended from the ceiling dividing the space, a hand pointing at objects), become at once lost, emphatic and inherently part of the work. close