It’s four in the morning here and I just finished a long chat with a representative of the OFLC.

“Ashley and Kisha” has not been classified, which meant that the OFLC could have given it a festival exemption to play at MUFF.

But OFLC refused to give it a festival exemption on the basis that my previous three films were classified X.

I asked why Destricted, which features work by Larry Clark, who’s previous film was refused classification, was given a festival exemption to play the same night as Ashley and Kisha, across town at ACMI, a and they could not answer.

I asked why Destricted, which features brutally mercenary depictions of the most loveless anal sex, was given a festival exemption and they could not answer.

Their suggestion was that we submit “Ashley and Kisha” for rush classification, in the hopes that we would receive a R classification.

But…

When I asked why 9 Songs, which feature actors performing cunelingus, felatio, ejaculation, and penetration was given an R, while our films which depict actual lovers are given an X, they could not answer.

When I asked why Shortbus, which features, among other things, an actor masturbating and then ejaculating on his face was given an R, while our film, which explore sexual pleasure inside the context of committed real-life loving relationships, they could not answer.

When I asked why numerous videos from the Sinclair Institute, which feature various sex acts performed by paid models, and presented under the guise of education are given R , while our film, which are held in the libraries of The Kinsey Institute at the University of Indiana, Planned Parenthood, The Gay Mens Health Crisis, The San Francisco Sex Information Hotline and many other health and education organizations are given an X, they could not answer.

They have told me the process is subjective and imperfect; yet this process has a “perfect” track record of marginalizing our films.

Now they would ask that we once again submit our work to this subjective and imperfect process, pay $1,000 for the privilege of doing so, against the hope that the fifth time’s the charm.

I may be a fool, but I’m not that kind of fool.

Writing about “Ashley and Kisha” Megan Spencer said, “The sweetest thing - Kisha & Ashley is one of the sweetest love stories you’re ever likely to see committed to film. The Comstocks once again put their perfect documentary formula to good use - true love and real sex - on screen; what’s not to like?!”

True love and real sex, what’s not to like indeed?

Obviously the OFLC has no problem with real sex. It has granted its R classification to 9 Songs, Shortbus, and many other videos containing real sex. It has granted a festival exemption to Destricted, which contains real sex.

One can only conclude that the problem the OFLC has is with true love, and what a pity that is; for this film, for the people who wanted to see it, and for Australia.

Regular readers have probably noticed that of late posting has been a little spotty.

Partly it’s because it’s August and there’s nothing I enjoy more than being on the water with my kids. A few more weeks and it’s back to school time, so I’m trying to get in as many beach hours with them as possible.

It’s also because MATT AND KHYM is taking up a lot of my creative energy. The problem (if one can even call it that) is that they’re too good. Their interview runs well over an hour, and it’s all good. Charming, sexy, sweet, humorous; it’s been really hard to figure how to cut in down to a managable length.

Lastly, I haven’t been writing in the blog much because I’ve been having to do A LOT of correspondence in support of DAMON AND HUNTER. It is abolutely our most successful release so far, both in terms of recognition and units shipped, and it turns out that trying to take advantage of that success take a lot of time.

We’ve been especially please with the reception DAMON AND HUNTER has received in Australia. It’s been covered in a number of magazines and newspapers, including DNA, The Melbourne Star, B-News, MCV, and QMagazine.

In July it played to an overflow audience at the Melbourne Underground Film Festival, and went on to be named Best Documentary at the fest. From there we were invited to show the film at QueerDOC, the world’s premiere gay and lesbian documentary film festival, in Sydney this September. All great news, with lots of thank you notes to write, journalist to talk to, and of course, boxes of DVDs to send to Australia.

Then late last week, the Australian Office of Film and Literature Classification dropped the hammer on DAMON AND HUNTER.

On the 15th, QueerDOC received notification from the OFLC that screening D&H would be a violation of Section 8 of the 2004 Film Festival Guidelines. That’s right, in Australia the government can tell you what you can and can’t show at a film festival.

What will happen now, I don’t know. The festival has already distributed nearly 50,000 copies of the program, including two screenings of DAMON AND HUNTER (which the festival expected would sell out). We’ve already printed up hundreds of posters and flyers and made arrangements to have them distributed throughout Sydney. The festival is currently in negotiations with the OFLC to see if they can show DAMON AND HUNTER in some sort of edited form, and we’re trying to make an appeal of the ratings. (Winterbottom’s 9 SONGS, a film that featured explicit footage of straight sex received a reduced rating from the OFLC. But without the major distributor backing of a film like 9 SONGS, and the very short notice, I’m doubtful our appeal will be successful.) If I were a betting man, I’d bet that Sydney is not going to get the chance to see the film that Melbourne enjoyed so very much.

And then there is still the question of what might happen to the organizers of the Melbourne Underground Film Festival and the owners of the venue that had the audacity to show DAMON AND HUNTER on not one, but two screens. Each violation of Section 8 is punishable by a year in jail and a $20,000 fine. Perhaps I felt a bit histrionic when I said that MUFF and Glitch were doing something courageous by showing DAMON AND HUNTER, but I don’t feel histrionic now.

Of all the films the OFLC might target for censorship, DAMON AND HUNTER seems like a particularly inappropriate choice. Aside from the recognition the film has so far received as an outstanding work of cinema, it’s also been recognized for it’s value as a life-affirming and educational document. DAMON AND HUNTER is held in the Kinsey Library at the world renowned Kinsey Institute at the University of Indiana. It’s already being used by the Gay Men’s Health Crisis in New York, and by the San Francisco Sex Information Hotline. Just this week it’s been being passed around by deligates at the 16th Annual World AIDS Conference in Toronto Cananda. Why? Because DAMON AND HUNTER is singular in it’s compassionate, humane, frank, and erotic depiction of gay love and gay sex.

And apparently that’s something that the government of Australia needs to keep the people of Sydney, especially the gay men of Sydney, from seeing.

We just got the word this morning; Damon and Hunter (in handy DVD form!) have been invited to the world famous Kinsey Institute for Research in Sex, Gender, and Reproduction at the University of Indiana in Bloomington. When they get to the institute, they’ll take up residence in the Kinsey Library and Special Collection along side Marie & Jack and Xana & Dax.

Without Dr. Alfred C. Kinsey’s ground-breaking work, it’s unlikely Comstock Films would exist, and we are honored to add another film to the collection that bears his name!

I am pleased to report that Xana and Dax: When Opposites Attract has been accepted for inclusion in the Library of The Kinsey Institute for Research in Sex, Gender, and Reproduction.

-T.C.