Almost an hour in length, Warhol’s film is made mostly of close-ups (though varying degrees), and shows slow, intimate kissing between straight, gay, interracial, and other kinds of couples. It seems notable for how it stages, restages, and stages against classical Hollywood kisses. It’s also interesting to note how the lengthy kisses give rise to the viewer’s consideration of fluttering eyelashes and other stimulating moments that might elicit Sobchack’s claim of the cinema of the sensual self.
About thirty minutes in length, it is the protracted, slow-motion view of a man with his head against a wall, enjoying the act of fellatio, though the person performing it is never shown. Rather, the camera holds on the man’s head in slow motion. It’s interesting given Williams’ argument for the tension between revelation and concealment – it’s scandalous because of what we know/imagine and therefore feel, rather than what we see.