Photographers: Whipsplash, Elsa, Sofia, Åslög (me) and Lisen. Models: Johanna, Lady Rah-Rah, Whipsplash, Kalle, Elsa, Åslög (me) and others. Illustrations: Daniel och Dennis. The website is constructed by Kristofer.

Vincent There is a big diffrence between "exploitation" and "objectification". I believe the latter is the good guy.

Lo-Fi Cherry Porno Pics


And especially about tentacle porn, feminist or not. Do you feel unsure about the whole concept? Think feminist tentacle porn is not for you?

I believe you have the right to be wrong in this case, and have put together a SMALL CARTOON for you!

Published in COVEN Berlin 2014-05-04.




I always admired LUSH for being a company pushing something as trivial as soap, and still work to make the world a better place. Regardless the genuine intentions of LUSH or any possible legit reasons for siding them with any other capitalist business thriving on the rich middle class' awareness of CSR - I find the many activities they managed to connect to soap manufacturing very inspiring.

When we talk about feminist porn and ethical porn, we usually talk about gender equality and empowerment of the female. When screening my videos or holding my workshops, the discussions touch the subject of how to educate about female pleasure, how to diverse the images of the sexual active woman, intersectionality and feminist porn in activism, among with other similar highly relevant topics. I would, however, like to widen the field this time.

Below I describe in a few simple steps how the feminist porn productions of LFCPP attempts to challenge and disrupt patriarchy / capitalism, apart from the perhaps more obvious feminist strategies.

LFCPP productions are collectively created. One team member's work and effort is not valued less than any other. Models and actors as well as photographers all have the right to sell and use the product (following certain regulations agreed upon in forehand). It does not give me any special rights to legally call the product my own anymore than my actors may do, just because I am the director or the producer. The idea of a master, maestro or auteur is just a way to justify hierarchies and to form conceptions about " (masculine) style" and "(masculine) quality".

Every contributor gets paid 50 euro for their work on a production, regardless what they do. This is because LFCPP doesn't really have any money to pay wages, but more importantly still is that LFCPP is strictly against free labour. Even if it is not possible, I will pay you. By doing this I hope to get all the super talented and creative artists out there in our community, to learn to respect their team members as well as themselves by following this principle. There is a limit to how many projects you can work your ass off "just for the fun of it". You would be surprised how far it will get you just to give a small token of appreciation.
Further, when hosting events and clubs I never have guest lists or give reduced ticket prices. All revenues go directly to the productions, to pay the team and to keep things going. Communities like ours tend to visit each other's happenings, star in each other's movies, help out with each other's projects.. If you pay 4 euro to go to my party, you might just get 50 euros back when you help me on set for the next production. Or your sister will, or anyone else you know. In this way we all help each other out, as well as keep the art rolling. Always for a small but important monetary contribution.

My current studio is in the costume and event space of a fellow artist here in Berlin. The community may borrow, contribute and use the costumes and props for any project. Instead of constantly buying and producing new stuff - in a vain illusion of your idea being the very first of its kind, a true original thought - LFCPP encourages dialogue with already existing resources. Be inspired from, and learn about, what has been made before you entered this very project. I am currently working with this space to have it helping me with the script for my next tentacle videos. Hopefully I will also be able to leave something behind.



TIO TON TÖS is the name of the feminist tentacle porn web series that I am producing next year

Watch the teaser and find out what you might look like if you ever got the chance to encounter a female tentacle sex predator.

Re-think the porn tropes: feministtentacles.tumblr.com/






If I would in some way try to describe the basic idea of tentacle porn, I would say that it is about non-human representations of the penis entering non-consenting / slightly resisting bodily openings of a (in most cases) female body. Tentacle porn has developed several ideas of what constitutes a tentacle. Octopus, cyborg-arms, alien limbs, hair, branches and roots.. The thing they have in common is the fact that they all try to look and act like a penis. The tentacles have solely one focus, and that is to penetrate and impregnate. This conquering is unfolded in front of us through images of the female slowly getting naked and disarmed. Turned into a sexual object, simply put.


I call for the rise of an equally predatory monster as the ones existing, but equipped with tentacles referring to female anatomy. Convinced that the problem with mainstream tentacle porn is neither objectification nor domination. Rather problematic is how mass produced images repeating themselves, telling the same story over and over again, creates an educational narrative that tends to mainstream an audience. I believe that a female tentacle monster, and tentacle porn produced by females, carries enough radical potential to instead enlighten and inspire the same.


A dozen of naked women sits in a big pit. Their faces are without expression, eyes gaze through the empty air. The pit is filled with extraterrestrial sperm, which the women are covering their bodies with. Slowly moving in the nasty bath, they are the image of alien occupation. Something has taken over these women, having them soaked in a strange liquid. They are doing it to themselves, but still clearly not out of their own will. Their movements are supposedly meant to be sensual, but are executed completely without any sexual awareness. You could compare this kind of dance with the impersonating small child, dressed in clothes belonging to the grown up world. Except that this is not cute. It is not directed to be cute. The submissive act is none that could be associated with an adult sexuality.

Above is a description of a scene from the 1986 movie “Breeders”.

I love slime and bodily fluids. I love women. I love nudity and weird, even a bit silly, science-fiction plots. Still, this scene is just awkward and it does not talk at all about the obvious sexiness of being trapped together with your girlfriends in an extraterrestrial pit of slime. Now, it might be unfair to chose a movie as “Breeders” as an example of a failing attempt to be sleazy and titillating in a funny way, because it is already considered to be a generally bad movie. On the other hand, despite any other possible qualities, most movies that use bodies as objects (for sex appeal or comic relief or “aesthetic reasons”) lacks in capacity of understanding the art of simultaneously respectful and aware objectifications of bodies. The problem is not the objectification in itself, but the inadequacy with which it is executed.

In porn, this incapacity with male producers of being humble to the female body and carry knowledge there of is illustrated by what I like to call the “blind gaze”. It refers to the kind of exploitation of female body parts that closely examines, but is completely without curiosity. It stares at you, only understanding what it wishes to understand. Only seeing what it already saw before.

When creating a female tentacle monster I am not fighting objectification, but disrupting the ways it is executed in the genre of tentacle porn. The answer is to objectify, and at the same time seeing. To watch, and to also empathize. When fumbling across the body of the prey, not only conquering but also exploring. The story of the images are meant to teach you, not to discipline you.


And here is how you go about it in reality:


Educate yourself in female anatomy and use biology as your muse.

The clitoris, for example, has only one purpose and that is to create pleasure. Just like the tentacle monsters of the movies. It spreads all the way around the female lower body, it spits and lubricates, it gets swollen and expands, it squeezes, it spasm, it hardens.. Look at images of the clitoris and imagine it a thousand times as big, then bring it to life.


Don't leave out the damage done by the female on her male (or whatever) prey.

Following the idea of an active gaze, if your tentacle sucks an asshole then you should show the movements that follow from this stimulation. And don't forget the facial expressions of the object.


Illustrate the bodily reactions, not only the body's appearance.

It is a false assumption that visual stimulation is about looking at pretty things. Following the idea of the empathic gaze, the images you present should illustrate sensation. Not beauty. The strange sensation of pushing a tongue against a pussy is better represented if you ask yourself what the feeling of tongue-against-pussy would look like (instead of just filming a tongue against a pussy). The words with which you describe that sensation to yourself, will then be the words which describe the tentacle monster's appearance. And the circle is closed.


Trading card from the in-house "Femme Tenta"-production "Space Labia"



I am slowly recovering from the 8th annual Porn Film Festival Berlin. This year I broke my personal best in all categories; working hours, hours of porn consumption without pause and (not surprisingly) partying! Here's a recap:

The safe sex campaign video (Emilie Jouvet) that I was in was competing in the Competition Shorts program, so naturally I went. Unfortunately, neither the wonderfully empowering "Beautiful Monotony" (Zahra Stardust) nor the thought invoking "The Safety in Rubber" (Amit Itzkar) won the prize for best short. Instead the winner was a totally pointless and boring portrait of white gay men called "Gingers" (Antonio Da Silva).
"Beautiful Monotony" reflects the intimate encounters between workers and customers within the privacy of lap dance rooms. It is real life captured in high speed, as you get to witness a whole work shift of a lap dancer. It's awesome!
"The Safety in Rubber" is a simple but certainly not banal movie about a man, an inflatable sex doll and the search for intimacy. The director himself plays in this movie - very brave!

This festival had a remarkable amount of non-pornos, and even one anti-porn documentary called "Sexy Baby" (Jill Bauer & Ronna Gradus). I really enjoyed watching it. The stories are interesting and all - even if they should have focused solely on the super talanted young girl that we follow through the age of 12 to 14. Her struggles with what it means to become a woman in the meaning of turning into a sexual object / subject. I support any critical position towards the mainstreaming of bodies and ridiculously high demands on female bodies to look and act and function in a certain and limited way. I do not support any attempts to blame porn. "Sexy Baby" is presenting figures on how cosmetic labia surgery has increased the last years, and puts this fact in direct relation to the increase in porn consumption. The girl in the movie is facing real challenges when it comes to the pressure of "changing into a sexy girl for the boys to like you", although she also claims that she never saw porn. That she didn't dare to go there.
The thing is, I agree that the hysterical sexualisation of basically everything - is problematic. These images, however, does not come from porn but from all other media and mainstream channels. If I had a daughter, I would rather have her watching porn than have her watching anything else. Because the world is puking sexism and anxiety right in your face, every second. If I had the chance to be freed from that crap and replace it with porn, I would do it in a heart beat.
Not once in this movie do they mention that porn is different, that there are movements within porn, that there is a community of solidarity. I think the film makers need to visit the Porn Film Festival next year..

The gathering point this year was the gay bar Ficken 3000. It has a darkroom in the basement. Oh my God that made me a happy pornie! I haven't been to a darkroom in years, and now there were all this interesting and talented and sexy people hanging out there. I joined a bunch of female pornies and sex workers in a cool initiative to visit the basement as a group - to keep it from being totally male dominated. It was a lesbian take over of the darkroom, more or less. Sweet.
I also starred spontaneously (don't do this at home) in an underground porno shot at the annual porn festival party at Monster Ronson. I'll let you know when the video is out! All I know is that it is gangbang-y and apparently in black-and-white.

Our feminist tentacle dildo workshop went really great to! Fifteen super sweet participants sculpted their fantasy objects and listened to me talk about the queer feminist potential of tentacle porn. BLN FM wrote an article about it, and it was screened that weekend in the U-bahn! I worked twelve hours in a row that day. I was one tired porny with a sore pussy after all that talk, work and play...

See you next year!


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