With CruXtreme IV in the can and undergoing the first cuts in POST, our beautiful cast and crew of three are beginning the production of Crux Simplex for Two.
Jac returns to do ALL the work behind the camera while, at the same time, putting all of his efforts in front of the camera to torture both lovely ladies in ways that he can only imagine.
The first two days of shooting were intense, with a lot of grabbing, touching, beating… first, the chained feet of both stars suffered a lengthy Bastinado, followed by double Strappado, with shackled wrists pulled up behind their back. I could describe those scenes as extended and brutal foreplay. I could… But I wont.
There’s a lot of excitement in the now smaller production company because of the continuous, passionate and sexy work in the set. Smaller because of the pandemic, no large casts and crews allowed; furthermore, since Amy left for the US, the output has been somewhat limited to the work of mostly Dani and Jac, which doesn’t mean that there are less productions, in 2020 alone the output will be larger than any year before, but Amy’s input as producer, director, screen writer and actress is sorely missed. Amy is, still, part of it all, but no longer hands-on involved, for now. However, she enjoys listening to Jac’s musings during their frequent conversations, she laughs a lot.
CruXtreme III – The Callback is advancing on its rough cut. Almost half of the film is already in first cut. It’s complicated to advance faster. With two films in the can and in post production, one under production, two in pre production and three scripts on the works, Jac’s time is overwhelmed, of course, and he doesn’t have the crew he needs to share the work. It might change.
After Dani’s painful impaling torture with the huge wooden stake and her suffering under a cruel bastinado and tortured breasts beating, she’s ready for her next ordeal, the nailing of her hands, but before that, she’s tortured with a nail that is pressed through her rib cage.
gerembeau I had a dream, Jac was the director in one medieval background, but Dr Lomp with his whips and bloody wounds was the henchman…
I have no idea who Dr Lomp is, but I can say that if Jac is making people dream about him, that’s a good thing, right?
A day or two after I met him we were on a bed, our second date, kind of, I was naked, leaning forward on top of him, he was holding me up by my arms stretched sideways, cross like, the music from the live performance of Jesus Christ Superstar was heard the background, we were near the Dom Ter where it was being staged, the song “I don’t know how to love him” was happening when, as I moved up and down, ever slowly, trapped by his intense gaze, he said to me: I will invade your thoughts… I will invade your dreams… I took his words as a bit heavy handed. Little did I know.
In the meantime, in our recent release, CruXtreme II – The Roommate, after Dani suffers the whip on her breasts stretched on the rack, she’s freed from her bonds for a bit, only to be set on a most painful and uncomfortable position on the rack. A new variation on the use of the rack.
More Performance than Plot
by Rich Moreland, September 2020
No Independent Cinematographer
While seemingly unsophisticated at first glance, the cinematography in CruXtreme I (CX I): The Playroom is actually quite innovative considering the limited space of the set and the fact that there is no independent cinematographer. Cameras are situated to capture the whip induced agonies from different angles and positions, reminding us that the editing was a challenge. Near the end, the camera does some sweeping views of the film’s star, Daniela Borda, but they are minimal.
In my discussions with the film’s creator, Jac Avila, he was honest in his assessment of the tasks he and Dani faced with the film.
“The Playroom is more a performance than a film with a plot. It has a plot, sure, but very thin,” he began.
“It was made just by the two of us, Dani and myself. I do the work of setting up lights and the camera and all of that which is manual labor, of course, and tiring, lots of moving around and carrying things within the span of a couple of hours.
“Dani took care of her personal make up. All the [other] make-up effects were done by me.”
Those include the bloody marks on her body.
Jac continued with his praise of Dani contributions.
“She helped me with the set, moving things around and the decor. I used some of the music I have in our archives, the opening piece was also used in other films, Pygmalion, amongst them. That’s the Bach piano melody,” he said.
Together they did a most credible job.