Pink Prison

Nowadays mostly regarded as the stillborn publicity stunt of compulsive agent provocateur Lars Von Trier, Puzzy Power was an off-shoot of his Zentropa production company which proclaimed to purvey more female friendly fornication fare with an earnestness as severe – and equally fake – as that of his previously implemented Dogme Manifesto which advocated a return to cinematic purity. Their first foray, the period piece CONSTANCE, mainly proved that its director (the far from female Knud Vesterskov) had no idea of what women actually desired from explicit erotica beyond hazy Mills & Boon type bodice-ripping. Vesterskov seemed marginally better suited to the label's sole yet maddeningly uneven gay release HOTMEN COOLBOYZ. With a whopping grand total of three (!) titles, Puzzy Power ultimately gave way to producer Peter Aalbaek Jensen's short-lived Innocent Pictures, perpetrator of Jessica Nilsson's distinctly underwhelming ALL ABOUT ANNA. Fortunately though, they did get the recipe right at least once, starting by bringing in a filmmaker of the appropriate gender, Lysbeth Lynghöft, who came from a theatrical background prior to landing a position at the Scandinavian branch of MTV.

Rather a big deal was made of the fact that PINK PRISON's main character Mila was supposedly 36, therefore considerably older than the average female porn protagonist, never mind that she's played by an actress (Katja Kean) who's considerably closer to the glamorous stereotype and about half a decade younger ! A journalist slash photographer, she makes a wager with her amorous editor Yasia (Anders Nyborg) that she can secure an interview with the elusive Governor who runs the eponymous male prison. Denied entrance, Mila sneaks in through the air vent which effectively transforms the narrative into a variation on Alice in Wonderland as various archetypes guide her on her quest to meet the mysterious man in charge. Hand-cuffed by monolithic guard Alberto Rey, she's literally liberated by the...