“I love pussies… You have no idea how many I want to fuck. You can’t be with me. “No one can be with me.” —Rocco Siffredi, addressed to the woman he loves
“I can see your fear, your guilt, the trap that forces us men to feel free and strong when we are violent and desperate people who call love a cage.” —Rocco Siffredi, addressed to the brother he loves
Which Rocco wins in the end? The man who wants to be neither more nor less than his insatiable sexual desire? Or the man who recognizes that his idea of masculinity has kept him from a deeper, more fulfilling experience of life, just as his doomed older brother Tommaso did to him?
I’m happy to say that supersex offers no unambiguous happy ending on either side of that ledger. It’s true that in the end, Rocco says that “the only real superpower is what’s in another person’s eyes”: looking at someone and seeing them looking at you lovingly. “You just have to choose where to look,” he says, “and learn to surrender to that gaze.” With these thoughts, in 2004, he returns home to his wife Rosa (Nutsa Khubulava) and his young son, apparently content.
But in the final shots of the show, he takes a urine test and smiles at the camera, ready to cut his retirement short. Of course, now he knows what love is and he knows that it matters. “Everything else is pornography,” he says, and this is a fact with which he seems perfectly happy.
To reach this point of happiness, with a woman he recruited from the ranks of a group of random Hungarian models and turned her into a porn star who works only with him, the living ghost that is Tommaso must first be exorcised. Much of this final episode, “The Rooster Arrives Last”, is devoted to following Rocco as he attempts to placate her long-lost brother on the day of Lucia’s wedding to her former enemy Jean Claude. They fight, they drink, they have fun, they dance to What Is Love?, they urinate in public, they share a moment with an elderly sex worker who reminds Tommaso of his first fateful rejection by a woman, the whore who gave him upstairs. Tommaso appears at the church and points a gun at everyone, before running away in shame. After that, together they destroy his restaurant for fun.
“Emma Stone just won an Oscar for this kind of genital-first performance, and I think that supersex has more to say, more insightfully, about sex than poor things manages to gather, that’s for sure.”
“This is love,” Rocco says at that moment, referring to Tommaso’s torment over Lucía. “Something so powerful that you have to destroy it, reject it, if you don’t want it to destroy you.” These are feelings shared by the 1994 Rocco (the episode oscillates between the two periods in a way no previous episode has, to the point where the line between them becomes blurred), who falls in love with Rosa and comforts her. during the first hardcore sex scene (“You can pee in my face if you want,” he offers lamely), she tells him that he may know how to fuck but not how to make love, and he finally gets her back on a plane to Budapest, telling her, “I love pussies.” ”by way of explanation.
But it’s not long before Rocco changes his mind, just as 2004 Rocco finally decides not to retire. Inconstancy is the only constant for the Tano brothers: They dart from one end of the spectrum to the next, like the guy in the “Take On Me” video running from one side of the comic book wall to the other.
Nowhere is this more evident than in Tommaso. What a fascinating character. A man who suffers, endless pain, who cannot find meaning in his own life, who cannot control the emotional fire that burns inside him, who cannot admit to himself what he really feels for anyone. . Here’s a guy who would rather live in an almost literal hole in the wall than ask anything of his family, especially his rich and famous brother, but who also has an entire wall of posters of that same brother adorning the space right above him. from his bed. . The implication is that he commits suicide, and this seems inevitable: a brain can only burn so long before it burns out. Adriano Giannini does an incredible job making this difficult man worth caring for.
All that and more applies to protagonist Alessandro Borghi. Borghi’s brave and brazen performance as Rocco is unforgettable: an actor who jumps naked into the deep end and swims down as far and as fast as he can. It’s not just about the countless sex scenes or the explicit dialogue. It’s the willingness to be seen as a sexual idiot, a man whose dick does his thinking. This can make you look incredibly sexy or incredibly vulgar, like a dog fucking another dog in the park while everyone watches. Emma Stone just won an Oscar for this genitals-first kind of performance, and I think supersex has more to say, more insightfully, about sex than poor things manages to gather, that’s for sure.
A seemingly endless source of sexual fantasies, fetishes and dysfunctions, supersex It’s one of the bravest shows I’ve ever seen. She turned me on and fucked me. I’m grateful to have seen it.
Sean T. Collins (@theseantcollins) writes about television forRolling Stone,Vulture,The New York TimesandAnywhere that has it, In fact. He and his family live on Long Island.
