Snowmelt “Avalanche” is another picture in a series of holidays at some little-known resort. In this case, the director Jean-Yves Lecastle, widely known in narrow circles, shoots porn on the background of a ski camp. Extrapolating pictures of a similar genre, we often get the pressure of entourage over the semantic component of the tape. The sheer volume of porn products produced by PRIVATE, Dorcell’s studio and the rest of the European satellites of these two porn giants rarely attempt to offer a story. It does not matter whether it will remain fascinating or from the first minutes will make you yawn desperately.
To reproach my reasoning can easily put a powerful thesis of the basic principle of pornography production. It is filmed not for the sake of the plot, but for the satisfaction of natural needs. Sublimations are peculiar. But let me! If this work meets certain conditions, canons, according to which the film is made, can the standards attached to it not be used for pornography? I believe that the commonality in production in one way or another brings together various directions of cinema, which means that they can be judged from different, but still more or less the same positions. This, on the one hand, elevates pornography to the league of art cinema, but it seems to me, even if so, this genre is somewhat on the sidelines, where the light of spotlight does not reach the blurred image of pornography.
So, the vast majority of film production is based on the fact that it presents a unique story to the consumer, which is shown from the point of view of its director, or a group of people aimed at certain tasks. But in this case, we get a pornographic phenomenon. I do not dare to say that I am an apologist in this field, but that part of the cinematography that does not attract naked bodies aspiring to coitus under its banners rarely allows the geographical component to so dominate the material produced.
“Avalanche” is a kind of example when a place completely builds a plot picture, not allowing the director to bring out something that differs from the representations of this location. It is the notorious ski resort that sets the idea and the main development of the story, completely devaluing the personality of the director, who simply became a hostage of snow. And in this I see the basic impersonality and laziness of most of the pornographers, who, in fact, are peculiar adapters. Thus, Lecastle, without using his directorial talent (the logical question is whether this filmmaker has one), gives the picture to nature, which, in a certain way, replaces the plot and itself becomes history, while direct performers turn into extras. Some kind of scenery. Therefore, I believe that pornographers who managed to break the pressure of the area to which the film is tied and become famous in the future, even if they are limited to the limits of their genre. Although there are exceptions to every rule, this is not the case.
And here we once again get a rather boring pornographic picture, about which, at first glance, there is not much to say. Although, of course, this series specializes in one of the oldest taboos of the human race, maximally aestheticizing anal sex. But, again, porn here shoot snow-covered mountain peaks, whose foot was a film crew. Of course, once again, Lecastle gets quite decent porn, in which there is no place for repulsive moments, but all this can be successfully cut into separate scenes and the quality of the product is absolutely not lost. But the rest of the moments can be used for a documentary about the ski resort. But rest assured, these guys have already prepared a backstage for you, in which they will tell you about the location of the shooting and about the conditions in which the production moved, how they persuaded the performers to shine their charms in the cold snow. All this is done in parallel with the main picture.
And once again I have to ask myself, why was this picture shot at all? What does it even mean? The answer, I suppose, lies on the surface. Like the Paradise Sex Mykonos I described earlier, the Avalanche is just another tourist attraction. I often criticize pornographic tapes for incompetent plagiarism, lack of logic in the script and other shortcomings. But all of them are superior to such crafts by the fact that they are filmed by people who try to bring to their works of porn art at least a piece of ideas, some thought. And here, unfortunately, the presence in the frame of the performers only prevented you from enjoying the beauty of the Swedish, I believe, mountains. But to pay tribute to “Private”, their paintings appeal to me much more than the porn crafts of the studio of Mark Dorsel.
Thus, two points gets a wonderful resort, for what made one of his giant look to shoot people is not what they could do without being controlled by these ever-snowy places. And one point for the film crew and performers. But in general, such pictures are absolutely not remembered. There’s nothing unique about it, just disappointment.
4 out of 10