The Fishermans InnZoë Frost
You are at the pool.
You are swimming
the water goes up your nose
snot forms in an allergic reaction to chlorine and starts to float out into the water.
The social scripts that determine the boundaries of social acceptability are context dependent, they are different for everyone in different environments.
However for me, the transition of the snot from my nose to gently riding the waves of my breaststroke, takes it out of its place of acceptability and leaves in its wake feelings of embarrassment and awkwardness.
We cut into the middle of something.
uh clip clop clip clopclop
Some disappoint relief from the glamour of it all, a smudge into absurdity swiftly chased by a sweaty wedgie liberation thrown to camera and EYES straightdownthebarrel.
Makeup running down the face
The pool provides fertile ground for awkward bodily happenings.
‘The Fishermans Inn’ is very much inspired by my own embodied experience as a focal point for zooming in on bodily happenings that evoke feelings of embarrassment and awkwardness, as a result of their social categorisation as unacceptable.
Burlesque and Cabaret frolic around the boundaries of gender and sexuality, playfully teasing and provoking through a comical, sexual and political style of performance.
The film plunges this theatre into the pool, in a similar way to synchronised swimming, but with a hint of the awkwardness of an Aqua-zumba class, that comes from not quite knowing the routine, having no rehearsal or training, but giving it 100% energy.
Wedgie pants with hint of camel toe
A swimming cap with holes in
Diamanté nose plugs
Diamanté snot Mesh fake nails
A one piece with diamantés under the mesh to highlight lumps and bumps like spots on skin — giving a half arsed attempt to cover the Vajazzle Thong
Pants-down Flipper Heel Stockings
The wearables draw on the visual parallels between swimwear and underwear, to create something that teeters on the boundary of in and out of place of what you might expect to see at a pool.
Exaggerated goggle marks, blotchy skin, mascara and eyeshadow running down the face, lip gloss around the eyes and nose for that wet, snotty look. Clumps of hair poking out the cap, some wispy bits around the edges all set in wet look hair gel.
All in all, a conglomeration of glamour and extravagance intermingled with an exaggerated messy, clumsy awkwardness.
All filmed from home.
Choreography developed with Jacinta Maud Hunter
Studio Tech Assistant- Dad
Cinematography- Mum and Sister
Sound- Louis Grace
For a private link to the film please email firstname.lastname@example.org.