Axel Abysse to Debut Fetish-Themed Short Film 'Fluid'

Axel Abysse to Debut Fetish-Themed Short Film 'Fluid'

TOKYO — Indie performer and filmmaker Axel Abysse is set to savor “Fluid." The erotic short fetish film, themed around fisting, is set to debut on his eponymous website Friday.

The 27-minute film also features RedRoseHanky, a gender-fluid male performer who dons makeup and an hourglass corset, under the direction of Ivan Sobris, a prior collaborator with Abysse. “His keen-eyed work in ‘Fluid’ captures all the scene’s flowing liquids, as well as the sleaze and delicacy that characterize the special nature of their encounter,” a rep said.

Sobris praised the chemistry between his leading men. “When I first met RedRoseHanky to discuss the shoot with Axel, I was struck by how open and proud he was about his sexuality and fisting,” said the director. “I knew straightaway I'd witness something amazing, but I was still far from imagining how incredibly torrid the result would be!"

RedRoseHanky savored the experience of filming “Fluid,” as it fell right into his wheelhouse. “People assume, because I am elegant or put effort and artistry into the way I look, that I am too delicate for the sort of piggy sex that I so enjoy. Why would I want to bury my face in someone’s sweaty armpit or drink their piss if it would smear my artwork? It is for that very reason that I do; my art and my sexual ability are two unrelated things. Sex is a gorgeous thing; sweaty, sloppy, piss-filled, hard, painful, beautiful sex is one of my favorite activities in the world. To wrest control of the inevitable decay of my makeup and turn it into a spectacle of raw sexual piggishness is simply taking the makeup and turning it into another piece of art entirely."

The "unique and unusual video,” the rep notes, required a soundtrack that was something more than “the expected disco thump of male porn.” Thus, Abysse recruited the composer known as “3pm,” who enjoyed exploring the scene’s “interplay of opposites."

The composer notes his “pretty commercial or standard pulsing drum” felt inappropriate. “There was so much intensity onscreen that I scrapped my first draft completely and approached it like I do any other film I work on, which is through themes and melodies,” he said. “The scene has the dominant and submissive switch perspectives, and a play with gender and labels, so I wanted to translate that into something emotional and not feel cheesy. So there is this constant atmosphere of tension happening from the first moment to the last frame. And in that atmosphere, there are these two dancing elements with synthesizers that work together and exchange energy, but then there are also some organic gentler elements of piano and guitar and a small vocal riff that plays with what is feminine and masculine. It's a dance between all the elements to help drive the onscreen connection and chemistry."

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