What, indeed, is the essence of sexuality? Must it invariably be tethered to the intimate dance of two beings embroiled in physical communion, or necessitate an act of penetration? Consider the possibility that the mere brush of lips, or the gentle tracing along someone’s spine, might transcend into the realm of the sensual. Our understanding of sexuality, so often constrained by the unyielding dictates of culture, media, and even art, begs for exploration beyond these orthodox confines.

Imagine, if we were to shed these entrenched preconceptions, might we then perceive an encounter with a work of art — be it a painting, a literary masterpiece, or a cinematic opus — as a sexual experience? This is not to conflate such experiences with the explicit realms of pornography but to ponder if mere exposure to the artistic medium itself can awaken a sexual awakening, profound and unique in its own right.

Unraveling Kavtaradze’s Cinematic Craft: A Revolutionary Lens on Human Sexuality

Marija Kavtaradze’s sophomore feature, Slow, is a film that delves into unique realms of inquiry. The writer-director meticulously constructs a sophisticated and nuanced exploration of human sexuality, one that daringly challenges and subverts the prevailing mainstream perceptions and entrenched societal constructs. In this comprehensive analysis, I endeavour to dissect Kavtaradze’s cinematic narrative through the lens of Patricia MacCormack’s innovative cinesexuality theory. This groundbreaking paradigm revolutionizes our engagement with film, redefining it as a medium that transcends traditional narrative and representational norms.

MacCormack’s theory posits an approach that regards the act of cinematic viewership as analogous to a sexual act. This perspective invites audiences to immerse themselves deeply in the cinematic image, to perceive it not merely as a passive viewing experience but as an event, an encounter, a process of becoming. This theory draws parallels to asexuality, in its recognition of diverse and fluid identities that transcend stable, binary classifications, thereby challenging the conventional understanding of sexuality itself. By applying cinesexuality to Slow, we gain a fresh, transformative lens through which to appreciate the film’s intricate portrayal of the human experience, one that encourages a deeper, more personal engagement with the narrative and its themes.

The narrative orbits around the character of Elena, portrayed with depth by Greta Grinevičiūtė, a dancer whose existence is defined by emotional liberation and a conscious defiance of conventional romantic entanglements. Her life intersects with Dovydas, embodied by Kęstutis Cicėnas, a sign language interpreter whose collaboration with her in teaching dance to deaf adolescents sparks an instantaneous and profound connection, transcending typical communicative boundaries and hinting at a cosmic preordained bond. This central narrative twist serves as a pivotal exploration of atypical sexual identities and relationships.

Navigating Uncharted Territories: Breaking Stereotypes in the Realm of Asexuality

A pivotal moment in the narrative arc is reached when Dovydas unveils his identity as an asexual individual. This revelation is particularly significant given the rarity of asexual representation in cinematic works, and even more so in the portrayal of male characters. Such a disclosure directly confronts and challenges the entrenched Western cultural archetype of hypersexual masculinity. In a masterstroke of storytelling, Kavtaradze ingeniously sets the stage for a compelling contrast by juxtaposing their vocations, which are inherently expressive of the body, against the platonic essence of their relationship. This contrast accentuates the physicality that underlies their interactions, without sexual connotations.

As the plot progresses, Ellen and Dovydas find themselves navigating a labyrinth of complexities and societal biases that accompany Dovydas’s asexual orientation. This journey is not only a personal one for the characters but also serves as an educative conduit for the audience. Through their experiences, viewers are invited to delve into the nuances of asexuality, a topic that remains widely misunderstood and underrepresented in a society predominantly oriented towards a heterosexual paradigm. The film thus becomes a medium for expanding collective knowledge and challenging preconceived notions about sexuality that extend beyond the conventional heterosexual framework.

Dance and Communication: Beyond Words

In the narrative, the characters, particularly Elena, face the challenge of bridging their differences and finding a common ground in their relationship. This journey towards mutual understanding unfolds through an evolved form of communication, unique to their dynamic. Elena’s background as a dancer introduces an intriguing element to their interactions. Dance, for her, is not just an art form but a means of expression, a language that transcends words. The film masterfully leverages this aspect, integrating her dance into the story in a way that feels seamless and natural. These spontaneous showcases of her dance rehearsals are incorporated so fluidly that they enhance the narrative rather than disrupting it, charged with a kinetic energy that resonates with the viewer.

The Transformative Power of Film: A Cinesexual Perspective

This approach is where Patricia MacCormack’s theory of cinesexuality plays a pivotal role. Her 2008 work, Cinesexuality, offers a lens through which the film’s impact can be deeply understood. MacCormack’s concept pushes the boundaries of conventional cinematic engagement, advocating for an experience of film that is immersive and non-verbal. It encourages viewers to engage with the film effectively, beyond mere representation. This perspective posits the film as a living entity, one that interacts empathically with its audience. Such an approach opens up a rich tapestry of innovative interpretations and profound insights, allowing for a deeper exploration of the human psyche through the medium of film.

The cinematic exploration of asexuality in the film profoundly broadens our understanding of sexual identities, positioning it as a vital component within the diverse LGBTQ+ spectrum. This challenges the prevailing misconception that asexuality is a deviation requiring correction. This representation aligns with Patricia MacCormack’s concept of cinesexuality, which focuses on the transformative impact of cinema on the viewer, rather than the explicit content. This approach subverts traditional theories of spectatorship, which often framed women under a masochistic or transvestitic lens.

Disrupting Identities: The Role of A-Signifying Elements

Cinesexuality, akin to asexuality, revolves around a form of queer desire that transcends conventional binary sexual classifications. MacCormack suggests that films communicate and influence us, employing Felix Guattari’s theory of a-signifying elements like colour, framing, speed, and sound. These elements disrupt standard meanings, steering our desires towards a disintegration of identity. This idea challenges the notion that psychological invisibility is always a product of or influenced by, the oppressive systems of meaning critiqued by MacCormack and Guattari.

Furthermore, MacCormack posits that embracing cinema as an intimate partner could reveal an alternative perspective on sexuality. This perspective doesn’t aim to replace our existing sexual identities but rather enhances our comprehension of the roles and regulations governing bodies, as they are impacted by the destructive effects of conventional signification on human flesh and desire (p.35).

In Slow, a particularly memorable scene exemplifies MacCormack’s view on the non-signifying intensities of cinema. After a rehearsal, Elena playfully remarks on her potential body odour, leading to a lighthearted sniff from Dovydas. This sequence, vividly brought to life through dynamic jump cuts, is not just a simple interaction but a deeper portrayal of emerging love, unique ways of communication, and the charming awkwardness inherent in human connections.

This scene and others in the movie resonate with MacCormack’s argument that cinema’s use of colours, sounds, gestures, and rhythms can transcend traditional sexual and other fixed identities. Such artistic choices in Slow reflect the broader potential of cinema to provoke significant shifts in our understanding and experience of sexuality and identity, moving beyond conventional portrayals and embracing a more liberated expression.

Engaging the Viewer: The Film as an Intimate Partner

MacCormack posits that cinema, when perceived as an intimate companion, provides unique insights into sexuality. This perspective enriches our comprehension of the roles and regulations of the body, which are often marred by the harmful impacts of conventional signification on human flesh and desire. This idea of intimacy is further intensified in the film through Laurynas Bareisa’s masterful cinematography. Bareisa’s lens captures an authentic closeness among the characters, vividly demonstrated in scenes such as Elena’s massage or the couple’s initial hand-hold.

Slow unfolds as an exquisite cinematic tapestry, delicately interlacing a nuanced exploration of sexuality and desire. It composes a captivating symphony, seamlessly blending elements of dance, music, and drama to craft a narrative that is both richly textured and deeply resonant. More than just its storyline, the essence of the film is encapsulated in its physicality – the distinct texture of its visuals, the deliberate framing of each scene, and the fluidity of its movements.

Dancing with the Screen: The Intimate Choreography of Cinematic Experience

These components merge to evoke a sense of corporeal intimacy, a tactile connection that palpably resonates with the audience. Through innovative cinematic techniques, including the use of extreme close-ups, the film establishes a visceral intimacy. This technique immerses us directly into the core of the characters’ experiences, allowing us to empathetically feel the characters’ emotions as if they were our own. This is how the film communicates with its audience, inviting them into a joyous union with the cinematic experience. It’s a dance of visuals and emotions, where we are not merely a spectator but active participants in the unfolding narrative, engaging in a harmonious and jubilant nuptial with the essence of the film.

These deliberate artistic choices, including the use of trembling frames, mirror the characters’ emotional volatility. This stylistic approach invites the audience to delve deeper into the narrative’s depths, experiencing the story’s emotional ebbs and flows as if they were part of their own psyche. This connection is analogous to the experience of Dovydas, a character who, while asexual, is not devoid of sexuality. Dovydas expresses his sexuality uniquely, through gentle touches, kisses, and physical closeness.

Echoes of the Heart: Unraveling the Complex Weave of Emotional Intimacy

Similarly, cinsexual viewers engage with films in a manner that deviates from mainstream perceptions of sexuality. This engagement is not merely a passive experience but an active, transformative event. It is a process of becoming, where viewers open themselves up to the film, allowing it to profoundly influence and alter their perceptions and emotions. In this way, the film acts as a catalyst for a unique form of intimacy, one that transcends physical interaction and enters the realm of emotional and psychological connectivity.

At its core, Slow is a raw, honest dissection of intimacy’s complexities, as seen through Dovydas’s journey with his sexuality. The film’s narrative is visually compelling and emotionally charged, daring to venture into unsettling realms. The ending, both straightforward and aesthetically engaging, leaves a haunting echo of possibilities unfulfilled. It subtly implies that the central relationship, for all its depth and fervor, might have been fated to unravel, capturing the often unpredictable and labyrinthine nature of human connections.

Redefining Human Connections: A Cinesexual Journey

Slow unfolds as an insightful and nuanced exploration into the labyrinthine dimensions of human sexuality and the intricacies of personal relationships. This cinematic masterpiece invites its audience to embark on a cinesexual journey, perceiving film as more than mere entertainment but as an intimate, transformative experience that transcends traditional storytelling and representational boundaries.

The movie’s unique portrayal of asexuality, coupled with a profound examination of the depth of emotional connections that exist independently of sexual attraction, serves as a catalyst for viewers to reassess and potentially redefine their understanding of concepts such as love, intimacy, and the essence of human connection. The film’s profound impact and innovative approach are further substantiated by its prestigious selection as Lithuania’s representative in the category of Best International Feature Film at the 96th Academy Awards in 2024, a testament to its remarkable artistic and thematic achievements.

Bibliography:

MacCormack, Patricia. (2004), ‘Masochistic Cinesexuality: The Many Deaths of Giovanni Lombardo Radice’, in X. Mendik and E. Mathijs (eds), Alternative Europe: Eurotrash and Exploitation Cinema Since 1945 (London: Wallflower).

_____. (2005), ‘A Cinema of Desire: Cinesexuality and Guattari’s Asignifying Cinema’, Women: A Cultural Review 16:3, 340–355.

_____. (2008), Cinesexuality, Farnham: Ashgate Publishing Ltd.