The fetishism of the medium of cinema itself becomes intertwined as the series of vignettes unfolds.
The soundtrack throughout is industrialised, almost dystopian, bringing that edge of unease so many feel when being confronted with the very ideas of sex, sexual suggestion, eroticism, and fetishism, and the very human drive to want to express these needs.
From the opening vignette of the trapped loneliness of the Voyeur, we see that, if you look hard enough, you can find expression to your desires – as he sees The Woman on the beach, who herself deals with self loathing of her own sexuality. This women’s sexuality, to the Voyeur, however, frees him from his loneliness and void of expression.
The theme of isolation within the confusion of erotic expression is again seen and overcome with the flapper girl who actively wants to feed and develop both the Voyeur and the Crossdresser. The erotic expression is fulfilled with no direct contact between these three people. Yet they are all nourished by the Flapper Girl’s plans and the way she watches over them.
Likewise with the feminisation of the Crossdresser, we see through out these sections the gold mannequin. The symbol of the female ideal in some minds. She is present intermittently, as the crossdresser is alone while suspended, then finds his Ballbuster who, like The Flapper Girl feeds his need and her own to express that basic human drive. We see how they socialise and connect, not only within the fetish sphere.
Finally, there is the saturated colour of what many may think of as ‘anyone’s bedroom’ the couple who seemingly break with any previous thread of loneliness, who have a fetish expression of their own by being with a second man.
Complexity, striving for self expression in your own erotic identity, overcoming the turmoil that itself can bring to reach personal fulfillment.These themes are all present throughout the whole film.
Given That Nasty Is An Egg shows us many sides of perceived eroticism, fetishism, ideas that some are unable or unwilling to explore through fear of the unknown, fear of ‘indecency’.
This film shows that it can be Indecent to not explore and freely express one’s own erotic drives and need for nourishment, however. The force of film itself to illustrate this and the other themes you have seen are as vital now, if not more so, than they have ever been.” Jason Marsh