Supersex

Every child has a superhero, mine was called Supersex and he had the power of sex.

Rocco Siffredi, Paris 2004, announces his retirement and this is where his story starts; origins, childhood, adolescence, Paris, Los Angeles, success: seven episodes.

Can you break down the barriers between life and porn?

You don't know the due moment of superpower and until it comes you live in the dream.

The voice off is the real star of the story, and the voice is Rocco Tano then Siffredi, who knows how faithful to his thoughts or freely, very freely inspired by them.

The brother, Tommaso, is in love with Lucia, who is desired by the whole town of her origin: Ortona, Abruzzo.

They lived in council houses together with his brother Claudio, who died young, his neutral father , his mother Carmela: an anaffective, despotic, crude, misogynistic monstrosity: "the sluts if they magnify the hearts of men and spit them out," "you have to stay away from femmene who bring more evil."

Rocco, with his dynamite in his body abandons all that anger, poverty, pain, from which his brother Tommaso had also fled, at the wedding of which none of the family had shown up.

The meeting with Moana Pozzi, the impresario Riccardo Schicchi, who demands the respect of the girls off the set.

Meanwhile, Rocco understood, "what stands between males and females is like a bridge that rises but does not unite," the desire in his body wants only himself while the flesh submits to the flesh and enjoys.

Between the superpower and the flesh is also the animal Rocco, he is part of a boundless excitement...

Between petty bourgeois Catholic respectability, vulgarity, homophobia, homosexuality, aids, dreams, life and death, the more Siffredi becomes the more he realizes the price he has to pay.

Arriving in Los Angeles in 1990 with his annoying impresario cousin is grotesque and hilarious; Rocco speaks no English and does not understand it, after all, what good would it do him!

"I slip in, empty and leave, I don't speak your language, my c.... is international."

The only woman he lingers to talk to is Lucia, his brother's wife, a prostitute in Pigalle for love.

She who tries to make him understand the difference between what men dream of and what women are.

The nausea aroused by the unnecessary and redundant language and images is inevitable, and her return to Ortona in 1993 because of her mother's illness is confirmation of this; Rocco is wasted and she knows that the fault lies with the "femmene che va dento lu core."

After the priest's statement, Siffredi retorts that bodies do not resurrect, they bleed, they transform but they are not saved.

The indefatigable search for maternal love affects the porn star's entire life: the law of counterpoise, the misogynistic view of the mother, and the obsession with and addiction to his son's sex.

A continuous confirmation and total rejection carried on throughout his life.

Poor Rocco Tano, from mother's collar to porn collar.

Narcissistic fixation, mental concupiscence: his more than logical blindness is a logic of blindness.

The other/other are the ideal representation of the self, pathology is the result of the mother's non-responsiveness and her judgment, unconscious hatred.

Without that mother Rocco Tano would not have become Siffredi.

The Oedipal complex, the desire for conjunction with her and her possession determine his superpower over all women and more.

Winking at the market hinted at and away from this: the film with all that amount of sexual acts that never generate intercourse only hinted that the porn star cannot stop at loving: the maternal has mutilated him despite his supersex.

And if the mother is the object of the child's incestuous desire ( Freud) here reigns the incidence that the mother's desire has on the child ( Lacan).

The sign and effect of maternal expectations shape him, subjugate him, fabricate him determining his primary perversion.

The fetishism of his own and others' bodies is the consequence.

A cannibal power has taken possession of Rocco: the film feeds on his flesh between grotesque and at times ridiculous scenes.

The performances of Borghi and Trinca interesting, others caricatured, the rest unbearable.

If "every child has a wound that is the source of his power and the trauma that will accompany him all his life"... "every child has within him the power to be a man and this power is all within the eyes of another, you only have to choose where to look and learn that the ability to surrender to that gaze is the only true superpower."

"EVERYTHING ELSE IS PORN"???

Between satyriasis, priapism, obsession, addiction, bondage, the idiocy of the phallus reigns supreme: how much gracelessness behind the display of manly power!

Supersex's choice is between voluntary slavery or the bondage of porn: how much fragility behind this ambitious but mediocre work, with some precarious insights yet vulgar and popular, ordinary and banal.

Everything else is BORE.