Inside the mind of the sex-obsessed
Looking at this writer/director, he's the last person you'd expect to see as the star if a film about sex addiction. Nebbish, in the mold of Woody Allen, he's far from a sex symbol, but he's got a lengthy history with the ladies, one he shares in a very meta way. The film takes the conventions of what a comedy or biopic is and mixes them up in a way that is both revealing and hilarious, while ingenious in its construction.
The autobiography that makes up the majority of the film is both engaging and frustrating. Zahedi is a man addicted to sex, more so than the average man. Though he forms solid relationships with women, attractive women with healthy sex drives, it's never enough for him, sending him into the arms (and other body parts) of prostitutes. As a result, he sabotages his opportunities for happiness, seeking an orgasm instead, no matter how many second chances he's given.How he could screw up so often risks him transitioning from hero to loser, but his unique worldview and absolute honesty makes it somewhat easy to stay on his side.
The film frequently beaks the fourth wall, as Zahedi pauses scenes and creates artificial segues, often with very funny results. Rarely boastful, he brings a very low-key personality to the screen, which helps the film's deadpan style of delivery. One scene, in which he explains the casting of one of the characters, is so natural and real that no matter how far-out the story gets (and with the amount of paid-for sex involved, it does get far-out), it still maintains a sense of reality. That Zahedi brings photos anf videos of the real people he's documenting into the mix further blurs the lines and accentuates the blend of fact and fiction.
The story is mostly funny, taking detours into drama, that again makes it all the more real. Though the amount of sex might take some out of the film, it's not a sexy film, in fact, thanks to Zahedi's "performance," the sex is far more humorous than arousing. It's important that the sex isn't fulfilling or positive, or there'd be less reason for Zahedi to break his addiction to it. There would also be far less of the comedy found throughout the film here. The old axiom is proven correct: It's funny because it's true.
The aural presentation arrives in a 2.0 track, which is basically a dialogue track. It does a fine job with the sound, keeping the speech and music cleanly separated, but the center-focused delivery presents nothing in terms of dynamic sound.
The Bottom Line