'The Last Porno Show': Victoria Dunsmore says director Kire Paputts went out of his way to make cast comfortable during racy sex scenes

'The Last Porno Show' got a massive audience at the 2019 Toronto International Film Festival and is now preparing for a theatrical release


                            'The Last Porno Show': Victoria Dunsmore says director Kire Paputts went out of his way to make cast comfortable during racy sex scenes

Narrating the story of a struggling actor who inherited one of the last seedy adult cinema from his estranged father, 'The Last Porno Show' explores the novel story of Wayne Bule, a man who is reluctantly thrust into the porn industry.

Wayne, portrayed by the talented Nathanael Chadwick, initially wants nothing to do with his father's business but decides to go with the flow when he is cast in an art film as a womanizer—a role in which he chooses to emulate his father. 

However, things spiral out of control when the method actor begins reenacting memories from his childhood in and around the porno cinema he grew up in. Despite the unique aspects of the film, it wasn't until actress Victoria Dunsmore saw director Kire Paputts' first film ‘Rainbow Kid’ that she was convinced the film would come together exceptionally well.

Despite loving the script right away, her initial reaction, she tells MEA WorldWide (MEAWW), was “are they going to be allowed to do this!?” However, it became clear very quickly that Paputts knew what he was doing. She reiterates, "He was so communicative about the entire process, I trusted him almost immediately."

Victoria Dunsmore portrays a young actress named Ashley in 'The Last Porno Show.'

Dunsmore's character Ashley is the actress cast opposite Wayne in the bold art film, and she is expected to perform unsimulated sex on camera along with Wayne. Although she had signed on for it initially, Dunsmore explains that she was "blinded by her ambitions and dreams of being a leading lady. Her confidence begins to slip, however, and we watch her struggle with the dilemma of staying committed to the project, or compromising herself."

This story is all too familiar for any wide-eyed woman who moves to a big city hoping for big opportunities, especially in show business, claims Dunsmore. "I can definitely empathize, and I’m sure most women can: when there are expectations being placed on you that you’re not willing to compromise for. It happens more often than we like to admit," she says. 

For the intimate scenes in movies, many #metoo and #timesup activists have called for the presence of intimacy directors, and while Dunsmore believes that 'The Last Porno Show' sets could have definitely used one, Paputts went out of his way to make everyone feel comfortable.

In her words, "Our set could’ve definitely made use of an intimacy director. We didn’t have one, however, Kire was unbelievably considerate of myself and Nathanael and the sensitivity of those scenes. Even before we began shooting, we met multiple times going over the nitty-gritty details, right down to the framing, what would be visible and what wouldn’t, what would be in focus and what wouldn’t, how wide a lens we’d use, etc. The #metoo movement and how Ashley’s story relates to it is why I wanted to do this film in the first place. To portray those highly vulnerable scenes as creepy and uncomfortable versus appealing and sexy, was very important to me. I’m not certain I would have done the movie had it been any less than what it was, which, again, is a testament to Kire, his talent, and his overall humanity."



 

Their combined efforts for the film have certainly paid off, with 'The Last Porno Show' getting a massive audience at the 2019 Toronto International Film Festival, and is heading to more festivals and preparing for a theatrical release in the days to come. "Canadian content tends to play it too safe to compete in the international market, and the fact that our film was chosen is proof enough that we’re looking for something more," says the Canadian actress, adding, how 'The Last Porno Show' is "very much a Toronto film, and possesses a lot of heart, despite the blatant way in which it pushes the envelope. It’s possible to do both."

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