Abstract
As Foucault has shown, the Christian pastoral and modern psychiatry share a concern for sex as the truth of the subject which must be passed through `the endless mill of speech'. But what happens when the Confessional and the Couch come into contact with the Cinema? How does realist, documentary and cinéma vérité film-making modify confessional discourse? In this article, I compare Pier Paolo Pasolini's Love Meetings (Comizi d'amore) (1964) with a pair of documentaries by Wiktor Grodecki on young male prostitutes in Prague ( Body Without Soul (1996) and Not Angels But Angels (1994)), Larry Clark's KIDS (1995), Paul Morrissey's Flesh (1968) and Andy Warhol's Blow Job (1963). I also consider how Jennie Livingston's Paris Is Burning (1990), in its similarity to Grodecki's and Clark's works, also departs from their (implicit) homophobia towards a critique of its own shared cinéma vérité investment in truth-telling.
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