Using porn as a political tool, and besides challenging the medium itself, LaBruce’s new film focuses directly on British politics, raising a number of currently contested issues – British colonialism, cultural puritanism, present-day racism, xenophobia, as well as the static and potentially oppressive role of the white, nuclear family. These topics are squarely confronted, turned upside-down and cracked open. By doing so, LaBruce has created a masterpiece that defies expectation – forcing the viewer into a new territory of film – slickly produced with fiercely intelligent (although purposely limited) dialogue, yet with all the hallmarks – and endorphins – of a night in the underground Berlin club scene.

The Visitor opens on the Thames River. The environment looks and feels post-apocalyptic. A homeless man exits a tent on the shore and finds a battered suitcase, from which a Black Adonis emerges. Inspired by Teorema by Pier Paolo Pasolini, the film stays somewhat true to the narrative of the original. The visitor arrives at the house of the bourgeoise—‘the ruling class’, represented as a white, conservative, and dysfunctional family. What ensues then is their undoing as each individual character has sex with the visitor, and at times, together. As the film reaches its climax, each scene breaks more taboos than the prior, through graphic, sexual sacrilege and incest.

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On leaving, visitors are reunited with the extended sex scenes, intensified by the throbbing techno beats of Hannah Holland’s soundtrack and the actors reaching climax. Tongue-in-cheek slogans that capture the film’s spirit (“Fuck for the many, not the few”) and production stills by LaBruce accompany the film. This is a welcomed act of propaganda – further amplifying the artist’s message—that we need a homo/sexual revolution to awaken us from the quagmire of our docile lives.