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I found a negative print and made a brand new 16mm print of it. It’s like a curse on the gay community, like a premonition of Aids. There’s an orgy at the end where the soundtrack is sounds of water, like waves, and at the same time there’s a woman laughing like a witch. “A guy is dreaming about making love with lots of other guys, but there’s a silence to it. “Not just a masterpiece of porn films, but a masterpiece of French cinema,” he says.
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One of those gems, Gonzalez continues, is 1979’s Équation à un inconnu (in English, it’s A Question to an Unknown), the only ever movie by artist Dietrich de Velsa. The prints were destroyed and we can find no trace of them anymore” – Yann Gonzalez The sad thing is, most of them disappeared. “Most of these gay pornos were kinda crappy, but the gems are incredible. Maybe they weren’t good films, but they were documents of the underground life of gay people back then – the queer theatres and cruising spots in Paris.” The prints were destroyed and we can find no trace of them anymore. “The sad thing is, most of them disappeared. “Most of these gay pornos were kinda crappy, but the gems are incredible,” the director enthuses. To prepare for Knife + Heart, Gonzalez sought out rare French erotica from the 1970s. It polarised a lot of people, but showing it at Cannes took the film out of its niche.” “At Cannes, it was an outcast,” Gonzalez laughs. That said, its world premiere was at Cannes, in Official Competition for the Palme d’Or, a festival where tuxedoed audiences tend not to be receptive to genre fare. It’s lovingly shot on 35mm, exuberantly scored by M83, and specifically designed to soak in anonymously in a big, dark room with strangers. As you can imagine, Knife + Heart, with all its mischievous pleasures, is a story suited for after-hours viewing. When I meet Gonzalez, it’s the morning after his movie’s midnight screening at the London Film Festival. To Anne, a Parisian pornographer with a distinct vision, it’s simply horny art mirroring real life.
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As the death toll of her young male talent rises, Anne springs into action: she turns into an amateur detective, of course, but then decides that the killings should be restaged in her films. But our focus is on Anne Pareze (Vanessa Paradis), a director whose latest efforts are titled Anal Fury and Homocidal. In Gonzalez’s silky slasher, the murderer dresses like an X-rated Scooby Doo villain: disguised in leather fetish gear, the shadowy figure penetrates victims via a kinky weapon of choice – a dildo with a switchblade attached. With echoes of Brian De Palma’s genre flourishes (split-screen splatters and pervy POVs), the dream logic of an Andrzej Zulawski nightmare, and affectionate nods to pre-internet jerk-off material, Gonzalez’s second directorial feature is a sleazy delight, albeit one tinged with heartbreak and impending doom. That’s the inviting premise of Yann Gonzalez’s Knife + Heart, a giallo murder-mystery set in the world of guy-on-guy erotica.
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It’s 1979, the French gay porn industry is in full flow, and a horny killer is on the loose.