All language subtitles for the_countess_x_xxx

Block all the gates of the tower.

Gather everyone.

General alert.

Don't let them go! I want them alive!

You can't escape the black tower so
easily.

Good evening, Mr. Barran. Good evening,
Carole.

Here are the invitations for Sunday.

You will put them in the mailbox.

Good, Mr. Barran. I understand that I
have to go home for a sequel.

But of course, Carole, you know very
well that the private meetings of our

must support us.

Oh, Madame la Comtesse X.

C 'est une nouvelle connaissance de
monsieur et de madame?

Oui et non.

Aucun membre de notre club ne la connaît
vraiment.

Nous ne la connaissons que de
réputation.

Thank you.

We're all afraid she'll come. It looks
like she's very beautiful, and she's

hosting the parties in an extraordinary
way.

Dommage que je ne puisse pas rester.

Vous savez Carole, c 'est un club très
fermé.

Ugh.

I'm very happy to have organized it.

Hmm.

You must have heard.

Heard? What?

Like a humiliation.

Human. Really?

As long as they're not stupid.

The Countess will never receive this
invitation.

But... There will still be a Countess at
the

Baron's party.

I'm sure he'll come.

I'd like to meet him, too. He seems very
surprising.

Do you think he'll come?

Don't worry, these people are always
waiting.

You know, I heard about her in my
British circle. They say she's a very

nurse.

How did you know that?

I was in a party, and they put an old
woman on the floor.

That's impossible.

She's from South America, you know, in
those countries.

That would be so strange.

Don't worry.

We can ask her to dance for us.

I hope she can hold on.

A little distance would animate the
evening.

Look, here she is for sure.

À pied?

Elle a dû laisser son chauffeur à la
grille.

My friends, I have just arrived.

I am so happy to be among you.

Let me take my time.

Baron, your guests are charming.

And I'm happy to introduce you all.

You've heard of your dance number.

Is it true that you dance in front of
everyone?

We would love to see you so much.

It seems that this magnificent show is
very good for us.

Everyone here is waiting impatiently for
the master of the atmosphere.

Choose the music you prefer, whatever
you want.

I think you can no longer refuse.

Dear Countess, I think that inviting us
to say...

But you will dance for us.

Dance naked, me?

I've already done it.

Ah, yes, yes, certainly.

You heard about that.

Well, if you want, but I don't know if I
will.

Well, yes.

Yes, yes, of course.

Here, come here.

Well, I think I will dance here.

Take a seat and sit down in the middle.

Can you put her in this chair? Can you
put her in this chair? Can you put her

this chair?

Can you put her in this chair? Can you
put her in this

chair?

I think we're going to see a great show.

My friends, I think we're going to have
a fantastic evening.

Music. Music.

Thank you.

I've never written anything like this
before.

She's got it.

She's got it. She's got it.

I'm the only one who's looking at it.

You don't think the champagne had a
gross taste?

Indeed,

but pleasant.

I feel very moved.

It's so good.

Oh,

no.

It's good to know that you didn't dress
me like that.

Oh, it's because of this champagne that
I like this effect. Believe me. After

all, you're right.

Oh,

yes. Oh, yes.

Oh, yes.

Oh, yes. Oh, yes. Oh, yes. Oh, yes.

Oh, yes.

Oh, that's me.

Oh, yes.

Like that, that's good.

There are some everywhere.

This dream is the most beautiful day of
my existence.

It's wonderful.

It's wonderful.

It's wonderful.

It's wonderful.

My friends, thanks to the Countess and
her total freedom,

We have just found our love of
newlyweds.

We are going to celebrate this in front
of you.

And as we think you are free, like us,
we are going to make love.

Do you want that?

I am very happy to be able to meet a
partner as charming as

you.

Walston.

Mm.

I love you.

Mm hmm.

Wilson.

Oh oui, pour la bière dans ta bouche.

Oui.

Oui, c 'est bon, ça.

Oh oui, défait tes cheveux.

Let me have the white, let me have the
white.

My balls too.

Yes, like that, it's good.

Oh yes, suck the big tail there.

Yes.

Oh yes.

Yes, come on, your mouth all the way
down there.

Oh yes.

Mmm.

Oh!

What's going on?

It's a group therapy, madam.

I'll see you later.

I didn't think the baron and the
baroness were like this.

They are like this.

And here you have an assembly of a
remarkable education.

They are very good people.

Thank you.

Oh.

Countess. Dear Countess.

I beg you, dear friend, to take my place
in my company.

I beg you, dear friend, to take my place
in my company. I beg you, dear friend,

to take my place in my company. I beg
you, dear friend,

to take my place in my company.

Thank you.

Oh, my God.

How come? Are you still dressed?

Yes, I think you would do well to do so.

Why? I think it will soon be time to go.

Oh, really? Tell me, you. Yes? The
Countess. I didn't receive an

I came anyway.

Here. And you, who are you?

It seems that you are passing for me.

Oh, really?

Tell me, Baron, funny things are
happening at home.

My jewelry!

Quick!

Well, I think we ate them.

But who are you?

I am also a burglar.

I saw you pour the powder into the cups.

I didn't see.

But you let me do it without saying
anything.

Yes, and I got the bag.

We won.

I have all the jewelry in it.

Et l 'argent?

On partage?

Et si on s 'associait?

Pourquoi pas?

J 'ai une invitation pour une soirée
bourgeoise.

Samedi soir.

J 'ai justement encore un peu de ma
poudre à froidir.

How do you say baby in French?

Good evening, Mr. Barnes.

Good evening, Carole.

Here, here are the invitations for your
birthday. You will put them in the

mailbox. Good, Mr. Barnes.

Do I understand that I have to go home
for a weekend?

But of course, Carole, you know very
well that private meetings of our club

support us, so a visit.

Oh, Madame la contestante.

C 'est une nouvelle connaissance de
monsieur et de madame?

Oui et non.

Aucun membre de notre club ne la connaît
vraiment.

Nous ne la connaissons que de
réputation.

Thank you.

We will do everything we can.

It seems that she is very beautiful and
entertains the guests in an

extraordinary way.

You know, Carole, it's a very closed
club.

Rawr!

I'm very happy to have hidden it.

Hmm.

hmm

You must have heard.

Heard? What do you mean?

Like a human genius.

Really?

As long as they're not stupid.

La Comtesse X ne recevra jamais cette
invitation.

Mais... Il y aura quand même une
Comtesse X à la soirée du Baron.

I'm sure she'll come.

I'd like to meet her too. She's very
surprising.

Do you think she'll come?

Don't worry, these people are always
waiting.

You know, I heard about her in my bridge
circle. They say she's a very free

nurse.

How did you know that?

In a party, she put a nightgown on the
table.

That's impossible.

She's American, you know, in her shoes.

That would be so strange.

Don't worry.

We just asked her to think for us.

I hope she knows how to hold on.

A little bit of license would animate
her.

Look, here she is.

À pied?

Elle a dû laisser son chauffeur à la
grille.

My friends, I have just arrived.

I am so happy to be among you.

Leave me alone for a while.

Baron, your guests are charming.

And I'm happy to introduce you all.

We've heard of your dance number.

Is it true that you dance in front of
everyone?

We'd love to see you so much.

It seems to be a magnificent show. What
do you think?

Everyone here is waiting impatiently for
you. I'll set the mood.

Choose the music you prefer.

Well, whatever you want.

I think you can no longer refuse.

Dear Countess, I think our guests want
to...

But you will dance for us.

Dance naked, me?

I've already done it.

Ah, yes, yes, certainly.

You heard about that.

Well, if you want, but I don't know if I
would.

Well, yes.

Yes, yes, of course.

Here, come here.

Well, I think I'll dance here.

Take a seat and sit down in the middle.

Can you put it in this chair?

Can you put it in this chair? Can you
put it in this chair?

Can you put it in this chair? Can you
put it in this

chair?

I think we're going to see an
extraordinary spectacle.

My friends, I think we're going to have
a

fantastic evening.

music music music

Thank you.

No. No.

No.

No.

She did it. She did it, but... Thank
you.

You didn't find that the champagne had a
big taste?

A bit, but pleasant.

I feel very excited.

Don't fall!

Don't fall! Don't fall!

Don't fall!

Don't fall!

I don't know.

Oh, yes.

Oh, yes,

like that, that's good.

Oh, my God.

My friends, thanks to the Countess and
her total freedom, we have just found

love of newlyweds.

We will celebrate this in front of you,
and as we think you are free, as we are,

Nous allons faire l 'amour. Le voulez
-vous?

Ouais!

I'm very happy to be able to reenact
this little evening.

Especially to meet such a charming
partner as you.

Ooh.

Hmm.

Thank you.

Awesome.

Oh, yes, take the beer out of your
mouth.

Yes.

Yes, that's good.

Oh, yes, untie your hair.

Yes, that's great.

Do you want to suck on me?

Yes.

Take the whole thing out of your mouth.

Let me have the white, let me have the
white.

My balls too.

Yes, like that, it's good.

Oh yes, suck the big ass there.

Yes.

Oh yes.

Yes, come on, your mouth is deep there.

Oh yes.

Mmm.

Whoa.

What's going on here?

Group therapy, ma 'am.

I trust you.

I didn't know the Baron was a priest.

They're like that.

And here you have an assembly of a
remarkable education.

They're very good people.

You see?

You can organize them.

Oh.

Um.

Countess, dear Countess, I beg you, dear
friend, to take my place next to my

companion. Ah, I beg you, I insist.

Yes, yes, I insist.

He's a charming person.

All your time, Countess.

thank you

Oh, my God.

. .

.

Merchandise. I didn't get an invitation,
but I came anyway.

Here. And you, who are you?

It seems you're passing for me.

Oh, really?

Say, Baron, funny things are happening
at home.

My jewelry!

Quick!

But what's going on?

um

But you let me do it without saying
anything.

Yes.

And I got the bag.

And we won.

I have all the jewelry in it.

And the money.

Let's share.

What if we became friends?

Pourquoi pas?

J 'ai une invitation pour une soirée
bourgeoise.

Samedi soir.

J 'ai justement encore un peu de ma
poudre aphrodisiaque.

What's your name?

Come on.

Thank you.

It's terrible, you know what I mean? You
would have to lay down your ass, drink

a shot, and then go back in 30 years,

it's nothing, you know?

With the madness that was our engine to
all of us, all of

that is fed by...

by an ideological background.

You have to know, I mean, we were all
people from a certain

period where a reflection was brought on
our

way of life, on our choices, on our
commitment to existence, what we wanted

do. So, our friends were all, still,
anartic and rebellious.

You have to know that in those times,
when you opted for a career as a

you were putting yourself in the hands
of humanity.

So if it was only nourished by a spirit
of profit, that is to say, earning

money, it could not go any further.

It was nourished by other reasons, more
profound, more organic,

or cerebral, or of madness, but still...

It was a commitment that was
compromising, compromising.

And to keep the commitment and advance
in this path,

in my opinion, you still had to be
armed, armed

with a bit of dream, armed with a bit of
delirium, of madness.

as sexual as poetic or ideological or...

It's really... I mean, the big engine is
still the balls.

If people allowed me to talk about some
aspects of the shooting,

to know what we could live after the
shooting. The shooting, you have to know

that we had terrible technical
constraints.

We were shooting in 35 mm.

So we had technical constraints specific
to

the film at 35 mm, the magazine of the
loading shaft.

The actors at that time were of

remarkable health.

This is one of the aspects. Contraire
technique, shooting in 35mm. All the

made with Jean Pierre were films that we
shot in 35mm.

A very particular support with very
restrictive constraints.

So in the job, we were professionals at
all levels.

However, to live, to exult, as Bral
said, the

body must exult, okay?

That, we would do it between the scenes
or after the shooting.

And there, I have memories.

Because there, it was a real moment of
life.

In front of the camera, of course, there
are anecdotes, there are little things,

there are... To talk about more precise
things, I would like Jean and

Jean -Pierre to be there.

Okay. Because, head hurt, I have
memories that are very

anecdotal, very precise, very... I was
convinced in

this film, finally.

the best, I kept it.

Okay. And your pseudonym at the time was
Cyril Valle? Cyril Valle.

Did it have a meaning, this pseudonym?

I was from the

theater called Engagé from the

60s, okay?

So before I committed myself in the X
industry or...

or other forms of marginal cinema, I
played and I wrote

pieces at the end of the 1960s which
were produced at the Théâtre de l 'Épée

Bois and at the Petit Mouffetard, at the
Grand Mouffetard, a thing of rebels,

of rebels in the spirit of that time.

So, Val, Val is a reference made to to
Arthur, to Tutu

Rimbaud, the sleeper of the waltz.

And Cyril is a tribute

given to Russian authors.

How did it happen?

How did it happen?

So, I ended up in a mundane place.

I was trained by my partner at the time,
who was a fan of this kind of

collective debate.

Me, not really.

I'm quite an optimist, not introverted
or shy, but

this kind of debate requires
concentration.

Okay?

To be well aware of the subject.
However, it was a collective debate

organized by François Florent, the
famous François Florent of the Cours

And during a party organized there, I
was noticed

by a big bearded man who came to see me
and who told me,

you have talent.

I fought with two young women in a small
room.

And he said to me, what are you doing?

You're an actor, you surprise me.

At François Florent's, it was roughly in
the middle of the theater or the

studio, there, they were meeting.

And he said to me, I have a friend,

this is the first film.

I had made two small previews, but this
is the first film with

Pierre Lugard, Candide Candide.

I went to see to surpass myself because
I thought that

it was still a feat to copulate in front
of the camera and that it could lead

me to cross the limits

and go see beyond these limits what I
was capable of.

I saw this director, I said that

I expressed myself in the theater that I
might be able to give a reply in a

movie, but that what concerned the
explicit acts of sexuality

on the screen, I guarantee it's nothing.

That's what seduced her.

That's it.

And it was... It was the very beginning
of a movie, but in France at the time,

it no longer existed.

One or two.

Yes, I arrived in 1975.

It was from the previous year, 1974.

And the first actors were Charles
Franin,

the first actor, followed by Richard
Allan

and his wife, Liliane.

So those were the two.

You came to tell me that you made 200
films in 8 years. On paper, it's

intense. Yes.

I also did live shows.

I did live shows in Pical.

So you stopped all of a sudden. Yes.

And now you're... In 1982.

In 1982?

Yes. And then I find myself again, if
you want,

involved.

in the industry by other means in 1992
and I was

commissioned to realize this museum in

1925 -1926.

The museum was inaugurated in 1997 and
the museum has

now become famous.

It is the reference of the museums of
Europe and the world dedicated

to this theme and we receive 150 ,000
visitors per year to say that I

have not abandoned in any case and never
my

most virulent passion which is that of
the

awakening of senses.

And beyond the emancipation of senses,
the emancipation of the mind, that's it.

You are also a collector, apparently, of
erotic art.

And when you travel, do you travel a
lot?

Yes, I always travel around the world
with my comrades, and I continue to

to collect rare pieces.

There I bring you to this showcase
precisely because it is a showcase

to the cult of the woman.

It is the aspect of Shakti, of the union
Shila -Shakti. And

the pieces are rare.

We have more venerated the phallus than
the veil.

And here I have a showcase dedicated to
the cult of...

It's very,

very rare to see a very small man.

And I like this doctrine.

I carry with me a burden of this
emotion.

The exercises are Indian and Nepalese.

Good evening, Mr. Barran. Good evening,
Carole.

Here are the invitations for the family.
You will put them in the mailbox.

Good, Mr. Barran.

I understand that I have to go home for
a sequel.

But of course, Carole, you know very
well that the private meetings of our

must support us.

Oh, Madame la Comtesse X.

C 'est une nouvelle connaissance de
monsieur et madame?

Oui et non.

Aucun membre de notre club ne la connaît
vraiment.

Nous ne la connaissons que de
réputation.

Thank you.

Nous espérons toutes qu 'elle viendra.
Il paraît qu 'elle est très belle et

anime les soirées d 'une manière
extraordinaire.

Dommage que je ne puisse pas rester.

Vous savez, Carole, c 'est un club très
fermé.

Ugh.

I'm very happy to have hidden it.

Hmm.

You must have heard.

Heard? What?

Like a humiliation.

Human. Really?

As long as they're not stupid.

The Countess will never receive this
invitation.

But... There will still be a Countess at
the

Baron's party.

C 'est réussi votre soirée, cher ami.

Oui, mais il manque la comtesse, pourvu
qu 'elle vienne.

Savez -vous que des bruits bizarres
courent sur cette comtesse?

Alors, cette mystérieuse comtesse... L
'attendons, j 'espère qu 'elle ne va pas

tarder.

J 'avoue que je suis venu surtout pour
cette comtesse, mais elle n 'est pas là.

Je suis certaine qu 'elle viendra.

Moi aussi, je voudrais la connaître. Il
paraît que c 'est quelqu 'un de très

étonnant.

Croyez -vous qu 'elle viendra?

Don't worry, these people are always
there to wait.

You know, I heard about her in my bridge
circle. They say she's a very free

nurse.

How did you know that?

In a party, she danced naked on the
floor.

That's impossible.

She's from America, you know, in those
countries.

That would be so strange.

Don't worry.

When we come to ask her to dance for
us... I hope she knows how to hold on.

Well, a bit of license would animate the
party.

Regardez, la voilà sûrement.

À pied?

Elle a dû laisser son chauffeur à la
grille.

My friends, I have just arrived.

I am so happy to be among you.

Let me take my time.

Baron, your guests are charming.

And I'm happy to introduce you all.

We've heard about your number of dances.

Is it true that you dance right in front
of everyone?

We'd love to see you so much.

It's a magnificent show. It's great.

Everyone here is waiting impatiently for
you. I'll set the mood.

Choose the music you prefer.

Well, anything you want.

I think you can no longer refuse.

Dear Countess, I think our guests want
to...

But you can dance for us.

Dance naked, me?

I've already done it.

Oh, yes, yes, certainly.

You've heard about that.

Well, if you want, but I don't know if I
know.

Well, yes, yes, of course.

Here, come here.

Well, I think I'm going to dance here.

Take a seat and sit down in the middle.

Thank you very

much.

I think we're going to see a show.

My friends, I think we've had a
fantastic evening.

music music

Okay.

I never thought it was going to be like
this.

She's doing it. She's doing it. She's
doing it. Somebody might have needed a

little bit.

You didn't find this champagne to have a
great taste?

Indeed, but pleasant.

I feel very emotional.

um um

Oh, no.

Oh,

no.

Oh, yes. Oh, yes. Oh, there's some
everywhere.

Oh, my God.

Oh, my God.

Oh,

my God. Oh,

my God.

My friends, thanks to the Countess and
her total freedom, we have just found

love of newlyweds.

Nous allons fêter cela devant vous.

Et comme nous pensons que vous êtes
libérés, comme nous, nous allons faire l

'amour. Le voulez -vous?

Oui!

I'm very happy to be back on this little
evening.

To meet a partner as charming as you.

Awesome.

Mm.

Hmm.

Like this.

Oh, yes, take the beer in your mouth.

Yes.

Yes, that's good.

Oh, yes, untie your hair.

Yes, your hair.

Do not suck me.

Let go of the white, let go of the
white.

My balls too.

Yes,

like that, it's good.

Oh yes, suck it well, the big tail
there.

Yes.

Oh yes.

Yes, well, your mouth is at the bottom
there.

Oh yes.

Mmm.

Whoa.

What's going on here?

It's a group therapy, madam.

I'll take care of you.

I didn't think the baron and the
baroness were like this.

They are like this.

And here you have an assembly of a
remarkable,

perfect education.

They are already very good, very good.

But it's me.

Oh.

Countess, dear Countess, I beg you, dear
friend, take my place, take my company.

Ah, all, all, I beg you, I insist.

I insist.

You are a charming

person. Take all your time, Countess.

Thank you.

Oh, my God.

Ha, ha, ha!

Merchandise.

But what's going on?

Well, I think we sowed them.

But who are you?

I am also a burglar.

I saw you pouring powder into the cups.

I didn't see.

But you let me do it without saying
anything.

Yes, and I got the bag.

We won.

I have all the jewelry in it.

Et l 'argent?

On partage?

Si on s 'associait.

Pourquoi pas?

J 'ai une invitation pour une soirée
bourgeoise.

Samedi soir.

J 'ai justement encore un peu de ma
poudre, Aphrodisia.

How do you spell it?

Ah!

Block all the gates of the tower.

Gather everyone.

General alert.

Don't kill her!

I want her alive!

You can't escape from the Black Tower so
easily.

No! No!

Thank you.

It's so... I mean, you have to put your
ass down, drink a shot, and then

go back in 30 years, it's nothing, you
know.

With the madness that was our engine to
all of us, all of

that is nourished by...

by an ideological background.

I don't know, we were all people from a
certain

period where a reflection was brought on
our

way of life, on our choices, on our
commitment to existence, what we wanted

do. So, our friends were all a kind of
art, and rebellious.

You have to know that in those times,
when you opted for a career as a SIP,

were putting yourself in the hands of
humanity.

So if it was only nourished by a
lucrative spirit, that is to say,

money, you couldn't go any further.

It was nourished by other deeper
reasons, or organic, or

cerebral, or madness, but still...

It was a commitment that was
compromising, compromising.

And to hold the baggage and advance in
this path,

in my opinion, you still had to be
armed,

armed with a little dream, armed with a
little

delirium, madness,

as sexual as poetic, or ideological,
or...

it's really... well, the big engine was
still Lille -Couillier.

I would like to be there.

If people allowed me to talk about some
aspects of the shooting,

to know what we could live after the
shooting. For the shooting, you have to

know that we had terrible technical
constraints.

We were shooting in 35mm.

So we had technical constraints,
specific to

the 35mm.

The light, the basculation, the movement
of the shoulders, the angle of view.

The actors at that time were in
remarkable health.

You have to know that. So that's one of
the aspects.

Technique constraint, shooting in 35mm.
All the films made with Jean, or Jean

-Pierre, were the films we shot in 35mm.

A very particular support with very
impressive constraints.

So in the job, we were professionals at
all levels.

However, to live, to exult, as Bral
said, the

body must exult, okay?

That, we would offer ourselves between
the scenes or after the shooting.

And there, I have memories.

Because there, it was real moments of
life.

In front of the camera, of course, there
are anecdotes, there are little things,

there are... To talk about more precise
things, I would like Jean and

Jean -Pierre to be there.

Okay. Because, perhaps, I have very

anecdotal memories, very precise, very
circumstantial,

in these films, finally.

the best, I kept it.

And your pseudonym at the time was
Cyrille Valme? Cyrille Valme. What does

mean?

I was from the

theater of the 60s, okay?

So before I committed myself in the X
industry or...

or other forms of marginal cinema, I
played and I wrote

pieces at the end of the 1960s which
were produced at the Théâtre de l 'Épée

Bois and at the Petit Moustard, at the
Grand Moustard, a thing of rebels,

of rebels in the spirit of that time.

So, Val, Val is a reference made to
Arthur, Titus

Rimbaud, Le Dormeur du Val.

And Cyril is a tribute

to the Russian authors.

How did it happen?

I ended up in a mundane place.

I was trained by my partner at the time,
who was a fan of this kind of

collective debate.

Me, not really.

I'm quite an introvert and shy person,
but

this kind of debate requires
concentration.

Okay?

To be well aware of the subject.
However, it was a collective debate

organized by François Florent.

The famous François Florent, Descaux
Florent.

And during a party organized there, I
was noticed

by a big bearded man who came to see me
and who told me,

you have talent.

I fought with two young women in a small
room.

And he said to me, what are you doing?

You are an actor, you surprise me.

At François Florent's, it was roughly in
the middle of the theater or of the

showbiz, there, they were meeting.

And he said to me, I have a friend, this
is the first film.

I had made two little previews, but this
is the first film with

Pierre Rignard, Candide Candide.

You will see, to surpass me, because I
thought that

it was still a feat to copulate in front
of the camera and that it could lead

me to cross the limits

and go beyond those limits, which I was
able to do.

I saw this director, I said that

I expressed to the theatre that I might
be able to give a reply in English,

but that concerning the explicit acts of
sexuality on

the screen, I guarantee nothing.

That, it seduced her.

It was the very beginning of English,
but in France at the time, it no longer

existed, one or two.

Yes, Amandou, when I arrived in 1975, it
had already existed since the previous

year, 1974.

And the first actors were Zahra Bikrana,
who was

the first, I think.

Followed closely by Deshaan Allan and
his wife, Liliane.

So that was it.

You made 200 films in 8 years. On paper,
it's a lot.

I also did a live show.

I did a live show in Pétale.

So you stopped all of a sudden.

Yes.

In 1982.

And then I meet again.

If you want to get involved.

in the industry, by other means, in
1992, and I was

asked, commissioned, to realize this
museum in

1995,

not 1996.

The museum was inaugurated in 1997, and
the museum has

now become famous.

It is the reference of...

of the museums of Europe and the world
dedicated to Sten and we receive 150

,000 visitors per year to say that I
have not

abandoned, in any case and never, my
most

virulent passion, which is that of the

development of senses.

and beyond the emancipation of senses,
the emancipation of the mind.

You are also a collector of erotic art.

You travel a lot.

Yes, I travel all over the world with my
friend and I continue to travel to

collect rare pieces to complete the

collection.

There I have this window precisely
because it is a window dedicated

to the cult of the woman.

It is the aspect of Shakti, of the union
Shila -Shakti.

And the pieces here are rare.

We have venerated the phallus more than
the vulva.

And here I have a window dedicated to
the cult of...

It's very,

very rare that we see a very small man.

And I like it very much.

I carry myself a sign of this emotion.

And from which country?

From Laos.

These places are Indian and Nepalese.