
Catwalk - From Glada Hudik to New York
2020

2015
Director
Antonio Centeno, Raúl de la Morena
Runtime
59 minutes
Average Rating
No ratings yetSynopsis
A documentary that addresses sexuality in people with functional diversity through six real stories which show that sex belongs to everybody. It explores not only what sexuality can do for the people with disabilities, but what functional diversity may contribute to human sexuality. It breaks the pairing dependence-infantilization using explicit images that portray disabled people as sexual and sexed beings and as desiring and desirable bodies.
Overall Score
Good
Category Breakdown
LGBTQ+ Representation
The film centers on diverse sexual expressions and bodily autonomy. While specific identity markers are not explicitly detailed, the narrative architecture challenges heteronormative assumptions.
Gender Representation
The documentary disrupts traditional hierarchies by reclaiming agency for individuals often relegated to passive roles. It portrays disabled people as desiring and desirable bodies, subverting asexual tropes.
Racial & Ethnic Diversity
There is insufficient information regarding the racial or ethnic composition of the participants to provide a definitive assessment.
Religious & Cultural Diversity
The film critiques Western structures that infantilize those with functional diversity. It prioritizes subjective experience over clinical or religious perspectives to validate individual desire.
Disability Representation
This is the film's primary strength. It dismantles 'inspiration porn' by providing explicit, agentic depictions of sexuality, portraying disabled people as active participants in their own pleasure.
Strengths
Areas for Improvement
AI Analysis
Yes, We Fuck! is a radical documentary that centers the sexual agency of people with functional diversity. It successfully dismantles the harmful trope of the 'asexual' disabled person by presenting them as desiring and desirable bodies. The film's greatest impact lies in its refusal to treat disability as a tragedy or a source of pity. Instead, it uses explicit imagery to reclaim bodily autonomy and challenge the systemic infantilization of marginalized individuals. While the film excels in disability representation, it lacks specific data regarding racial, ethnic, or explicit LGBTQ+ identities. This leaves certain demographic dimensions of diversity unexamined within the available narrative.

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