The Georgia Straight - - Movies - > BY ADRIAN MACK Dan Sav­age’s HUMP! Film Fes­ti­val plays three nights at the Rio The­atre start­ing Thurs­day (Septem­ber 14).

It’s noth­ing you’d ever learn about in home eco­nom­ics, but the short film “Break­fast in Bed” presents a novel way of but­ter­ing your toast. Any­one who caught the hu­man “lube dis­penser” at last year’s HUMP! Film Fes­ti­val will get the gist of the piece, which is all that needs to be said about it at this point.

“I’m not nec­es­sar­ily turned on by this prac­tice, but I’m glad that it en­cour­ages al­ter­na­tive ap­proaches to dairy and in­ti­macy,” quips Ty Ward­well dur­ing a Skype chat from Ber­lin with the Ge­or­gia Straight.

Get­ting Ward­well to speak is no small deal. Any­one fa­mil­iar with Dan Sav­age’s HUMP! Film Fes­ti­val will know that or­ga­niz­ers have been deadly se­ri­ous about anonymity since HUMP! first in­vited par­tic­i­pants in Port­land and Seat­tle to be­come ama­teur porno mak­ers back in 2005. Try to sneak a crafty sou­venir out of the Rio The­atre when the road-show ver­sion of HUMP! brings this year’s best ef­forts to Van­cou­ver once again and your phone will be con­fis­cated—for­ever.

That said, the man who con­ceived, di­rected, and stars in “Break­fast in Bed” with his cre­ative part­ner, Ethan Folk, is will­ing to come clean and face the me­dia.

“With the au­di­ence reaction—and then win­ning the run­ner-up prize for best kink, get­ting on the tour— now we’re all about claim­ing our work,” the for­mer Seat­tleite says of a two-minute short that play­fully asks, in his words, “What’s the stu­pid­est way you can melt a but­ter stick?”

Ward­well and Folk are, in fact, ex­per­i­men­tal-the­atre artists whose work had taken them as far afield as Ser­bia be­fore they set­tled in Ger­many ear­lier this year. A longer ver­sion of “Break­fast in Bed” was in­cluded in a video-per­for­mance trip­tych called cute & non-threat­en­ing, which de­scribes, in some ways, the mood if not the ac­tion de­picted in the piece.

Based on sim­i­larly slick en­tries— the stereo­scopic ode to wa­ter sports, fist­ing, and, erm, egg play, “Cor­re­spon­dence”; the gor­geously crafted faux Ken­neth Anger of “The Lit­tle Mer­man”; the Hoku­sai-in­spired an­i­ma­tion “The Dream of the Fish­er­man’s WIFE”—HUMP! at­tracts an im­pres­sive share of artists. Other en­tries come straight from the groin, like the lo-fi kinkathon “Toys, Trans, and Train­ing” or the wild out­door stunt fuck­ing (sky­div­ing in­cluded) of “Sum­mer Fuck­a­tion”.

For all its con­sid­er­able raunch, how­ever—and things don’t get much dirt­ier than the blood­smeared clown-fist­ing seen in “Play­ing Scrab­ble”—hump! is prob­a­bly best de­fined by its hu­mour. “Sav­age King­dom” de­serves a nod for demon­strat­ing how to milk a gimp in the wild, while the song video “Sock Pup­pet” boasts re­mark­able wit and tech­ni­cal savvy for some­thing that might blink out of ex­is­tence once HUMP! is done for the year. Raw yet sweet-na­tured, “Break­fast in Bed” stands out be­cause it em­bod­ies all of the fes­ti­val’s virtues.

“One of the top feel­ings of 2016 for me was sit­ting in a the­atre and hear­ing the reaction,” Ward­well says. “Ev­ery time this film is shown, there is a fuck­ing roar, this mix of hor­ror, as­ton­ish­ment, and glee. That just feels great, to bear wit­ness to that.

“I’ve told peo­ple,” he adds with a know­ing grin, “‘Be­cause I made “Break­fast in Bed”, I can die to­day and be to­tally con­tent with my cre­ative out­put.’ ”

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