Movie Type: Performance Art, Illnesses & Disabilities
Themes: Living With Disability, Dying Young
Main Cast: Kirby Dick, Bob Flanagan, Sheree Rose
Release Year: 1997
Country: US
Run Time: 89 minutes
Plot
This documentary profiles poet/performance artist Bob Flanagan, who was born with cystic fibrosis. Flanagan explains, with engaging humor, how his obsession with controlled, self-inflicted pain has helped him to deal with his uncontrollable suffering. His philosophy forces one to look at sado-masochism with fresh eyes. The film includes explicit scenes of genital self-mutilation. ~ Bhob Stewart, All Movie Guide
Review
The tongue-in-cheek, sensationalistic title gives little indication of the tender, revelatory moments at the core of Kirby Dick's Sick: The Life and Death of Bob Flanagan, Supermasochist. Born with cystic fibrosis, Flanagan dedicated his life to stretching, flogging, piercing, burning, and otherwise mutilating his unreliable body, and he invited the art world to watch. Thanks to Flanagan's desire to record his pain, Dick was allowed access to some of the artist's most personal moments with his dominatrix, manager, and partner, Sheree Rose. It would be difficult to make an uninteresting film about these two, but Dick's subjective stance on the project insures that they're never merely used for shock value; the on-camera record of Flanagan's driving a nail through the head of his penis is nothing compared to the grainy footage of the artist's slow, quiet death. Sick shares a place with 1994's Crumb as an unflinching, complex vindication of marginalized art forms and the individuals who pioneer them. ~ Michael Hastings, All Movie Guide
Cast
Kirby Dick - interviewer; Sheree Rose; Kathe Burkhart - interviewer; Bob Flanagan; Rita Valencia - interviewer
Credit
Dody Dorn - Associate Producer, Sheree Rose - Associate Producer, Kirby Dick - Director, Kirby Dick - Editor, Dody Dorn - Editor, Blake Leyh - Songwriter, Matt Levin - Cinematographer, Kirby Dick - Cinematographer, Geza Sinkovics - Cinematographer, Alan Barker - Cinematographer, Jonathan Dayton - Cinematographer, Sheree Rose - Cinematographer, Barbara Thole-Testa - Cinematographer, David Werk - Cinematographer, Kirby Dick - Producer, Alan Barker - Sound/Sound Designer, Kip Gynn - Sound/Sound Designer
The film chronicles Flanagan for several years leading up to his death in 1996. It explores various aspects of his life, artwork, and philosophy through interviews and other personal footage depicting Flanagan, his partner Sheree Rose, and the Flanagan family. SICK also features Flanagan's home movies, performance videos, and video diaries, as well as an excerpt of Flanagan's performance in the music video for Happiness in Slavery by Nine Inch Nails.
In the film, Flanagan explains his use of BDSM for sexual gratification and also as a therapeutic device to regain control over his body from cystic fibrosis. He discusses his conceptual, performance, and video art, which often relates to pain, illness, medicine, and sexuality. Flanagan also serves as a camp counselor for children with cystic fibrosis and meets with a young woman who suffers from cystic fibrosis and who visits him under the auspices of the Make-A-Wish Foundation.
SICK details Flanagan's lifelong struggle with cystic fibrosis, as well as his eventual death. Flanagan had agreed to participate in the film under the condition that his death be included in the final project.[1]
Reception
SICK was a surprise hit at the 1997 Sundance Film Festival, where it received a Special Jury Prize. It was also awarded the Grand Prize at the Los Angeles Film Festival. This was another surprise for Dick, who had planned to skip the awards ceremony.[1]
Dick has stated that the film received its best response at a screening at the Museum of Modern Art in New York City, where one audience member began masturbating during a scene in which Flanagan drives a nail through his penis.[1]
Film critics responded positively to the film. Kevin Thomas of The Los Angeles Times and Roger Ebert of The Chicago Sun-Times praised the film for its careful portrayal of Flanagan's struggles and his relationship with Rose.[2][3]The San Francisco Chronicle's Edward Guthmann said the film, "does a remarkable thing in presenting extreme, sometimes revolting material and simultaneously making us like and admire Flanagan. True, he was a madman and exhibitionist; but he was also a gifted writer who was committed to taking risks, confronting death and living life on his own terms."[4]