On the young bride’s shoulder is a mauve bite mark: the outline of a mouth, a double arch,teeth marks, open jaws, lips raised up over hard enamel. Not the barely open lips of a kisson the skin; open, rather, as for a kiss on the mouth, but this time penetrating the skin: abristling kiss with the teeth bared, extreme – at the limit of the kiss, or beyond. A cruelkiss: a kiss of flesh . A young couple kisses in a (...) plane: the beginning ofthe film. Later we will see this icon, not knowing when it was imprinted, like a tattoo or abranding with the red hot iron of some ancient justice.What is a kiss? This is the question posed by Claire Denis’s film. Or rather: what isfucking?2It has long been accepted and repeated that kissing is a kind of devouring. Itbelongs to a core of imagery and metaphor that includes fairy tales , the fascination with cannibalism, the symbolism of Christian communion andthat of the lacerations of Dionysos, Osiris or Acteon, together with ghouls, striges andvampires, werewolves, incubi and succubi. This entire carnivorous breed is concealedwithin the film. It is recalled in its entirety, evoked by the gesture of Coré, the sick woman, standing on a bank, filmed from a low angle raising her coat aboveher shoulders to bring to mind for a moment the silhouette of Murnau’s Nosferatu.The vampire’s true formula is only revealed when one says ‘the kiss of the vampire’.That is what is at stake here, allowing for the fact that we are no longer in the era ofvampire stories: the kiss as vampire.It is not a question of any particular kiss, but rather that the kiss, in itself, opens on to the bite, and the taste of blood. And consequently it is a question of another wellknown coupling, that of Eros and Thanatos: not in a dialectic of opposites, but in a mutualexcitation and exasperation, each asking the other to go further, to go all the way to theend, to get completely lost. (shrink)

In this essay I follow one argument strand from Linda Singer's Erotic Welfare. How can we have a forward-looking and affirmative ideal of sexual freedom when the AIDS panic has altered the sexual landscape and instigated new justifications for oppressive sexual disciplines? How can we be sexual subjects when processes of commodification and disciplinary practices have constrained sexual expression while proliferating sexual fetishes? These are some of the questions this book formulates, without answering.