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QFest screening

Houston-born filmmaker's sexually explicit Fourplay is really about human intimacy

Joel Luks
Jul 25, 2013 | 3:16 pm

When the opening credits roll away from an innocuous slideshow of classic sketches that study the finer details of human anatomy and onto images of transsexual nuns with erect penises, Japanese orgies that include double penetration and Greek man-boy love anal humping scenes, consider the sequence a welcome greeting into the mind of Houston-born filmmaker Kyle Henry.

It's clear that with this introductory device with which the film Fourplay unfolds — one of shock-and-awe of sorts — Henry expunges preconceptions of the meaning of virtuous sexual behavior, today and in the long ago.

"These images of erotic art attempt to erase misconceptions about 'the good old days' of purity," Henry tells CultureMap in a phone interview. "We tend to fantasize that there was such an iconic past of so called proper sexual conduct, but there never was a period that didn't have what some may describe as deviant behavior. Human beings have always been human beings in this respect."

"What is romance with a capital R? Is it flowers, chocolates, a gallant gesture? Or is it a moment of connection that transcends perceptions of the physical world?"

Fourplay, screening for the first time in Houston on Friday at Aurora Picture Show as part of the QFest Film Festival, is an anthology of four short stories that aims to recognize the breadth of sexual diversity that exists across the country. Not in Los Angeles and New York, but in places like Skokie (a town of 64,000 near Chicago), Tampa, Austin and a bedroom suburb of San Francisco.

Tales of bestiality, role play fantasy, anonymous sexual encounters in a public restroom and a sex worker pleasing a quadriplegic, though explicit in content, reach beyond their erotic nature to delve into a psychological, emotional and humanistic realm that at times verges on Romanticism despite their non-conformist core.

With a tad of humor.

Henry, today in his 40s (because a gent never reveals his exact age), grew up in League City, which he describes as where travelers used to stop to get ice en route to Galveston. His approach to film was largely influenced by what he saw at the Rice University Media Center and at the River Oaks Theater. He attended Rice University and the University of Texas at Austin.

"Thematically, I like to go into places that other people avoid," he says about the subjects of his films. "Why aren't we having a conversation about this or that? Those are the topics I choose for my films."

Four short stories from the heartland

Fourplay was written by Carlos Treviño, Henry's partner of 14 years, and Jessica Hedrick, a colleague he met while living in Austin.

Skokie opens with an amicable, closeted, church-going, choir-singing lesbian, Gail, who agrees to dog sit for the minister and his wife, Marcy. Struggles to keep the mischievous white fluffy creature in line dissolve into a dream in which Gail shares a passionate kiss with Marcy, who's dressed in a sexy kitty costume. As the action climaxes in a typical tender beach scene, it's the dog that's rubbing Gail in all the right places.

In Austin, which Henry jokingly refers to as the token straight scenario, a committed couple who's wrestling with reigniting their passion for one another deals with the consequences of conception, on purpose and by accident.

Tampa, the most lighthearted in the collection of shorts, is a hilarious portrayal of an overweight man with a small penis who tries to find his place — and his orgasm — in a bathroom orgy in which bigger is better.

San Francisco is influenced by the real life story of a cross-dressing sex worker and a mother who arranged a session for her quadriplegic son. Here, a wife hires Aliya for her paralyzed husband, Tom. As Aliya experiments with Tom's sensitive areas, their interaction morphs into a touching account that illustrates unlikely measures taken to appease a loved one.

No doubt the emotive musical score that includes selections by Mahler, Wagner and Pie Jesu from Fauré's Requiem isn't meant to recede into background. Whether one is familiar with Mahler's Adagietto from his Symphony No. 5 or not, there's little chance of not layering spiritual nuance atop of what could otherwise be salacious episodes. Rather, Henry humanizes these desires as natural and as old as the history of mankind itself.

"What is romance with a capital R?" Henry says. "Is it flowers, chocolates, a gallant gesture? Or is it a moment of connection that transcends perceptions of the physical world?"

Fourplay then becomes a film not about satisfying urges and desire, but about honestly acknowledging the realities of human intimacy — whether we like it or not.

It is what it is — and Henry doesn't apologize or makes excuses for it.

___

Fourplay screens on Friday, 8 p.m., at Aurora Picture Show. Director Kyle Henry will be in attendance. Henry also edited Before You Know It, a film by PJ Raval that will screen in Galveston Artist Residency at 3 p.m. Sunday.

Jose Villarreal, right, plays an overweight man with a small penis in Tampa.

QFest Houston July 2013 Jose Villarreal in FOURPLAY
Courtesy photo
Jose Villarreal, right, plays an overweight man with a small penis in Tampa.
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Movie Review

Summer camp drama The Plague proves middle school is still pure horror

Alex Bentley
Jan 2, 2026 | 2:30 pm
Everett Blunck in The Plague
Photo courtesy of IFC
Everett Blunck in The Plague.

Anybody who’s attended elementary school in the last 100 years knows the concept of “cooties,” a fictional affliction that is typically caught when touched by a member of the opposite sex. A more updated version of the same idea is featured in the Diary of a Wimpy Kid series, this time called the “Cheese Touch,” making anyone who touches a moldy piece of cheese on the school’s basketball court an outcast.

A much more menacing version of this “disease” is on display in The Plague, which takes place at a summer water polo camp for tweens. The film focuses on Ben (Everett Blunck), a slightly awkward boy who struggles to fit in with the “cool” crowd led by Jake (Kayo Martin). That group has no problems making fun of others that they deem to be different, especially Eli (Kenny Rasmussen), who has been ostracized because of a rash he has that the kids call “the plague.”

Ben wants to be part of the main group, but his natural empathy leads him to reach out to Eli on more than one occasion despite Eli engaging in some uncomfortable behavior. With the camp’s coach (Joel Edgerton) not much help when it comes to the bullying tactics by Jake and others, especially those that take place at night, Ben is left to fend for himself. His vacillations between wanting to be accepted and wanting to do what’s right continue until his hand is forced.

Written and directed by first-time feature filmmaker Charlie Polinger, the film has all the feel of a horror movie without actually being a horror. The staging used by Polinger gives the film a claustrophobic feel as Ben can’t seem to escape the psychological torture inflicted by Jake and others no matter where he goes. He also employs a jarring score by Johan Lenox to great effect, one that’s designed to keep viewers on edge even when nothing bad is happening.

No matter how far removed you are from middle school, the film will likely bring up feelings you thought you had left behind. Much like with Bo Burnham’s Eighth Grade, Polinger finds a way to tap into something universal in his depiction of tweens, an age when everyone is still discovering who they really are. Some go along to get along, others don’t even attempt to fit in, but no one truly feels settled.

Whether the plague is real or not in the world of the film is up for debate. While most of the time it comes off as something made up to underscore the feeling of otherness felt by Ben, Polinger does literalize it to a degree. He even tiptoes up to the line of body horror before wisely retreating, although what he does show will still make some viewers squeamish. However, because he seems to be leaning one way before pulling back, there’s the possibility that some will be disappointed by the tease of something more intense.

The film’s biggest success is in its casting. Finding good child actors is notoriously tough, and yet Polinger and casting director Rebecca Dealy found a bunch who sell the story for all it’s worth. Blunck, Martin, and Rasmussen get the most play, but everyone else complements them well. Edgerton is the only well-known actor in the film, but he’s used sparingly and isn’t asked to do much, leaving the kids to carry the story on their shoulders.

Fitting in as a tween is hard enough without others actively trying to find ways to cast someone out. The Plague is an effective demonstration of the dynamics that can play out in a competitive environment that also includes a group that has yet to develop into fully-rounded people. It features discomfort on multiple levels, marking an auspicious debut for Polinger.

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The Plague is now playing in theaters.

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