4 Acts of Pleasure: An Interview with Ben Nordmann

Please tell us a little about yourself first. How did you become interested in filmmaking?

Hey there, I’m Ben Nordmann — a (supportive) sex worker (escort), filmmaker, and designer. From a young age, I was fascinated by photography, capturing my perspective of the world around me. Later, I added film to my practice, seeing it as closely connected to photography.

Through exploring and discovering modern, consensual non-monogamous lifestyles, I developed the attitude that sexuality is something wonderful, and everyone has the right to experience it in the way they choose. At the same time, I was frustrated by mainstream portrayals of sexuality and bodies in film, which often follow narrow erotic standards that feel unrealistic or alienating to many. This motivated me to bring my own perspective to filmmaking — one that focuses on connection, authenticity, and realness. The methodology of professional ‘integrated self-recording’ creates a new approach to filmmaking, opening fresh perspectives on intimacy. It can also serve as a tool for empowerment within the context of sex work and supportive escorting. By giving the person in the film a different perspective on their own body and by inspiring a third-party viewer, the work fosters appreciation both for the individual on screen and for me as the filmmaker. In this way, it allows impact on multiple levels and touches many people.

How did the idea for these four films come to your mind? And how did you develop this idea?

Driven by the intention to show realness and connection, there was no fixed idea or script. The project began simply with Melinde Witkamp and me spending time together in a hotel in Amsterdam. The concept of the film, and how we framed and told our story, developed afterward in collaboration with Valentine Langlais. We intentionally avoided typical porn patterns, such as genital penetration, to show that intimacy can be more than that. Additionally, we structured the film into four parts to encourage viewers to focus on each moment consciously, rather than consuming it in the usual way.

Do the four parts of 4 Acts of Pleasure make sense in relation to each other, or can they be considered independent films on their own?

Each film can be enjoyed on its own, with no need to watch the others. For those interested in seeing more, the full experience shows the time we spent together in its entirety. What began as a single shared moment is captured through four small stories of pleasure, each highlighting connection, curiosity, and enjoyment.

How do you generally develop your ideas? Especially for 4 Acts of Pleasure, did you have a screenplay, or did you have a general idea and proceed based on improvisation?

Before filming, we have a rough idea of the message we want to convey, guided by themes such as consent, female pleasure, body celebration, highlighting unique body details, curiosity, or developing other statements to be embodied.

For example, in 4 Acts of Pleasure, our main plan was simply to be genuine and celebrate each other, playing freely and doing what felt right in the moment. This was easily and comfortably possible since it was just the two of us, with no external film crew involved.

How would you describe 4 Acts of Pleasure yourself? Do you consider these four films a type of erotic film?

Our film takes an open, experimental approach that doesn’t fit neatly into a single category. It can be seen as experimental, pornographic — since it aims to inspire sexual excitement — and even documentary, as it captures real, unscripted moments.

It is also independent: performers control what they do and how it’s filmed, it’s self-produced and directly distributed, and creators maintain creative freedom while receiving fair compensation.

We are committed to the principles of ethical porn: clear consent and communication, fair pay and safe conditions, authenticity, diversity in representation, transparency, and respect for both performers and viewers.

In the history of cinema, erotic films have always had many fans. Do you think there is much room for erotic films in the world of short films today?

For me as an artist, the question is not whether there is space, but rather how to find the space to share a message that reflects the maker’s values and attitudes. The challenge lies in generating income when commercial success is not the driving force. My main source of income comes from escort work as a sex worker, which gives me the freedom to express myself without financial pressure — a privilege I’m deeply aware of. I still hope that value-driven work can find its place in the market. And in fact, it already has, since people are buying the film.

What were the reactions of those who saw the film?

“I really like the film. I hadn’t expected it to convey such intimacy and closeness — as if you were watching a normal couple in their bedroom.” This is a quote from someone who watched the film. Viewers appreciate its intimacy and authenticity, recognizing the value in the realness it conveys. We believe it captures genuine moments that inspire the idea that sexuality is more than ‘just sex.’

If possible, tell us about your next project.

The next project has already been recorded, though it has not yet been edited or composed. It focuses on a client from my supportive escort work. Sometimes filmmaking becomes a tool to empower my clients, helping them explore and reclaim their sexual self-determination after experiences such as sexual trauma — like Claudia’s story. Claudia’s story traces her journey of reclaiming sexuality after experiences of discrimination and violence. Beginning with sexting and leading to a paid encounter in Stuttgart with me as sex worker Ben Nordmann, the film documents her first sexual experience and the emotions surrounding it. Today, Claudia describes a more fulfilled sex life without services, while her reflections—together with Ben’s—offer rare insights into the hidden barriers faced by survivors of sexual abuse and the potential role of sexual services in healing.