by thany sanches

1. I spent part of my teens seeing nude women's magazines.


My father would stack the magazines under the bathroom sink and every time I went to take a shower, I would pretend to bath but sit quietly looking at each page.

I could spend my whole life looking at those bodies.


They in their sculptural poses marked me with a perfect balance between life and death. I saw for the first time some kind of eroticism and I couldn’t quite understand the invitation they made me.
They were present, unceasing, continuous, in a busy stream as if they were always happening.

They made me curious.
The body makes me curious.


After the magazines came the movies. And those bodies ceased to be alone, and became a tangle of people. The movies made it clear to me: sex is a dance.

Pornography, however, is a very strict choreography.


2. The movie begins by introducing the first of the two couples who dances / fucks.


They are in a red room.

The bed is low

made of wood.

The light is natural

we see a lot of skin.


Everything is red

the color burns.

Bodies burn.


It's like they're on stage.


Their sex is choreographed and rigid.


They reenact every gesture of the movie "Coercing Riley".


(Coercing Riley was the most watched Riley Reid film last year. It has more than 19 millions views on a famous porn hube and it shows very coldly the absence of pleasure and female role in the industry.)


The idea of  ​​’The choreography’ isto offer a parallel between this cold pornochoreography to the heat of improvised sex.


The second couple is introduced.


They are on the same stage, in a different bed.

They are next to the first couple.

They dance / fuck with greater fluidity and turn-on.


Há tesão.


The camera works in a more documental way.


They are not sweet

but intense and passionate.


3. What I want is to file a complaint.


We want to watch

loose bodies

present bodies

burning bodies.


I want to see all the possible pleasure.


I want the body as a filter that makes visible another thousand of inner movements that only can be precisely guessed.




The cinematography will base itself in the use of a more naturalistic light as if it came from the outside window, like they are waking up.

A clear white daylight will contrast with the pure red taken from the art direction


Somehow based on Ingmar Bergman’s Cries and Whispers.



The couples shall be recorded separately in an unique bed surrounded by a circular traveling for the camera. A zoom lens will be attached to the camera, in order to give full versatility to the camera. The circular movements from the camera will be edited in way to complement each couple, making the contrast a little more subtle than the conventional editing.

We have a clear cut: two couples, one pre-choreographed, re-enacts the choreography of the film and another that will "present" a self-directed choreography, bringing the sexual practices of their repertoire. Repertoire that must be created together with the actors during the laboratories done before the filming, so we do not fall into the repertoire of porn that everyone ends up bringing as luggage. The idea is to get away from it as much as possible and pursue true sex. With this proposal, it is interesting to see all the pleasure and its subtleties, rhythms, moderations, possibilities, nuances, contrasts - but coming back: all possible pleasure in this specific context.

Here the camera should do the service of showing the sex of the best angle possible, and not the action itself (movements, positions) adapt to the camera. The look at natural sex is documentary contrasting with the initial reenactment.

Another thing we will look for in these labs is to understand how to disrupt this chronological order of porn movies.


How  make sex escape the idea of ​​preliminary / penetration / male enjoyment / end?

Coercing Riley stills




Rodrigo Andrade


The idea is to select the cast through a public call to a pornocoreography lab.
The lab will be an immersion of the cast and crew in the project.
Choreographic exercises and collective discussions will be part of this process.

I understand the creative process as something organic; even more so in a project that has as its structural basis issues and discussion on something so organic and changeable like sex. Even more with a willingness to bring these discussions to the whole team and cast trying to understand between men and women such differences. There is, therefore, room for change, leaving this project as a starting point.





Thany Sanches (1986, São Paulo)

is an artist based in São Paulo where she studies in a self-taught way counting on the help of free modules in various educational institutions and study groups since 2013. She has already exhibited her works in collective exhibitions and in 2014 participated of NES art residence in Iceland.


She works with painting, photography, dance and video addressing issues related to the body as a producer and as a container, as pure potentiality to a constant imperfection and negotiation, the body as an always-becoming organism, as a place for constant affection.  

Her paintings emerge from an investigation into pornography as a form

of human representation, seeking to put in the same domain memories, animality and affections.


In addition to her work in painting, she works with cinema as an art director of several music videos and the feature film Asco.


Since 2017 she signs along the Panama Filmes the direction of some of their projects.


Caio Mazzilli (1992, Lençóis Paulista)

graduated in Cinema and Audiovisual by the Federal University of Pelotas, specialized in Cinematography by AIC. He is a member of Panama Filmes working as cinematographer, director and screenwriter.


Gabi Vanzetta (1989, São Paulo)

graduated in Fine Arts in 2011 with a practice focused in video and performance. In 2009 she was one of the founders, idealizers and managers of Como_Clube, an experimental collective that acted transdisciplinarily between performance, dance, theater, philosophy. Como_Clube was active until 2014, the year in which it participated in the 31st São Paulo Art Biennial. With the end of Como_Clube, Gabi moved closer to the cinema, working with production design with directors like Esmir Filho, Vera Egito and Oliver Hadlee.



Filipe Franco (1988, São Paulo)

has been working as a director and editor since 2011. He is curently a member of Panama Filmes. In 2017 received the Multishow Prize in the category best direction of video clip.



Mariá Portugal (1982, São Paulo)

is a drummer, singer and songwriter. She composes and performs live soundtrack for dance, theater and performance and has worked with Patrícia Noronha, Cristiane Paoli Quito, Diogo Granato and Felipe Hirsch, among others. She has a master in communication and semiotics at PUC-SP, where she researched cognitive relations between body and sound. She plays drums with Quartabê.