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Slippery Slope (2006) More at IMDbPro »

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Slippery Slope -- When a cash strapped feminist filmmaker, Gillian meets a mysterious producer, she secretly takes a job directing a porn film in order to get her master work, "Feminism For Dummies" out of the lab. This arouses the suspicion of her politically correct husband, Hugh, and leads to a madcap finale of mistaken identity that threatens to upend Gillian's best laid plans.


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Release Date:
2006 (USA) See more »
a sexy comedy about an uptight young feminist filmmaker that secretly takes a job directing adult films to raise funds for her documentary.
A cash strapped feminist filmmaker secretly takes a job directing a porn film in order to get her thesis film... See more » | Add synopsis »
User Reviews:
when sex and brains really do mix... See more (2 total) »


  (in credits order)

Kelly Hutchinson ... Gillian Black

Jim True-Frost ... Hugh Winston

Laila Robins ... Michaela Stark

Wes Ramsey ... Martin Breedlove

Yolonda Ross ... Ginger

Brian Letscher ... Chad
Jessica Leccia ... Stacy
Leslie Lyles ... Judy Black

Jerry Grayson ... Billy Gilmore

Geoffrey Nauffts ... Wilhelm
Robert Sella ... Sergei Soranus

Dan Fogler ... Crafty
James Doerr ... Dick Black

Richmond Hoxie ... Crocker Winston

Devin Ratray ... Hospital Assistant

Marty McDonough ... Older Man

Matthew Lawler ... Film Lab Worker
Danielle Ferland ... Kevin
Poppi Kramer ... Leisha
John Francis Hebert ... Frat Boy (as John F. Heber)
Pamela Burrell ... Female Academic
Patrick Hall ... Business Man
rest of cast listed alphabetically:

Lucas Akoskin ... Franco Lupy
Delroy J. Baker
Ari Benjamin

Theodore Bouloukos ... French Director
Justin Costa

Helen Coxe ... Liz
Nancy Hamada
Matt Jade ... Central Park Hat Man
Cassandra Johnson
Martha Lee

Leif Maginnis ... Subway rider

Laith Nakli ... Burly man
Audrie Neenan ... Floozy

Cara Quici ... Dancer

Joseph Schommer

Adam Scorgie ... Guy making out with girl (scenes deleted)
Zonda Sochorow

Thomas Michael Sullivan ... Waiter
Frances Tulk-Hart
Julie Tyler

George Young Warner ... Busboy (as George Young-Warner)
Diane Ingino ... Businesswoman (uncredited)

Directed by
Sarah Schenck 
Writing credits
(in alphabetical order)
Sarah Schenck 

Produced by
Lynn Appelle .... producer
John Finley .... producer
Steve Garfinkel .... associate producer
Nancy Hamada .... producer
Sam Pai .... producer
Scott D. Rosenbaum .... associate producer
Tyagi Schwartz .... associate producer
Sabrina Tubio-Cid .... producer
Cinematography by
Wolfgang Held 
Film Editing by
William Henry 
Savvas Paritsis 
Casting by
John Mabry 
Dani Super 
Production Design by
Tora Peterson 
Art Direction by
Ipek Celik 
Costume Design by
Sandra Alexandra 
Sandra Alexandre 
Makeup Department
Steve Costanza .... key makeup artist
Ande Yung .... assistant makeup artist
Production Management
Cassandra Johnson .... production manager
Second Unit Director or Assistant Director
A. Arthur Howard .... assistant director
Zachary May .... second assistant director
Art Department
Jimena Azula .... set dresser
Amanda Bonavita .... property master
Devin Febbroriello .... set dresser
Sound Department
Ryan Collison .... foley engineer
Martin Czembor .... sound re-recording mixer
Richard King .... supervising sound editor
Damian Panitz .... foley editor
Special Effects by
Brian Haimes .... stop motion animation
Camera and Electrical Department
Chris Aran .... key grip
Boris Cifuentes .... electrician
Rebecca Davis .... camera production assistant
Wilson Green .... swing grip
David Isern .... Steadicam operator
Kate Larose .... second assistant camera
Costume and Wardrobe Department
Michael Bevins .... costume designer: fantasy costumes
Editorial Department
Kiersten Harter .... associate editor
Scot Olive .... digital intermediate colorist
Margaret Sclafani .... post-production assistant
Location Management
Polly Pence .... assistant location manager
Other crew
Katri Billard .... script supervisor
Will Greenfield .... production assistant
Lisa M. Mundy .... production coordinator

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
80 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:


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17 out of 31 people found the following review useful.
when sex and brains really do mix..., 9 July 2007
Author: umpireplb from United States

"Slippery Slope" is a rarity among films these days: a totally character- and story-driven exercise in cinematic understanding of human nature and the unfathomable forces that compel human beings to both deceive and trust one another, often at the same time. Everything about it clicks: the script, the dialogue, the sets, the affectionate, careful development of each character no matter how minor, and the sense of delight it conveys at adding a brave new element to the discussion of female empowerment and pornography, which as "Slippery Slope" conveys with wit and depth, are not necessarily mutually exclusive. Not anymore, anyway, and certainly not after viewing director and writer Sarah Schenck's gem of a film. Schenck's attention to detail is note-perfect and provides many moments of recognition and laughter, from the scrubbed-off remnants of one of those dreaded yellow parking stickers on the car of the husband, marvelously portrayed by Jim True-Frost, as he drives off to confront his wife whom he suspects of conducting an affair at a Long Island motel but who in reality is directing a porn movie she doesn't want him to know about, to the made-up names of the "classics" she has re-worked to make them palatable for porn audiences, in which Shakespeare's "Tempest" becomes "The Temptress" and Dickens' "Hard Times" becomes "Really Hard Times." In particular, the delineation of Gillian, the female protagonist, resonates powerfully as she evolves from a struggling, out-of-work auteur into a more liberated, honest, loving (and solvent) version of herself. Even the title of the film's primary device, "Feminism For Dummies," a film she has completed but cannot retrieve from the lab because she lacks the funds to pay for it, is a double-edged entendre with multiple layers of meaning that Schenck is wise enough to leave open to interpretation by her viewers. She does not play down to her audience even though the subject matter itself may seem to call out for such condescension, but rather uses her talents to explore the tensions inherent in the many situations that arise as a result of Gillian's double life and the deception she perpetrates on her husband out of - shame? Respect for his "purity"? Artistic duplicity? All are elements shaping her decision to enter the strange, staged world of pornography, but Schenck leaves it up to the audience to decide which ones matter and which don't, a mark of esteem for her viewers woefully lacking in too many modern filmmakers' "hit-'em-over-the-head-with-a-sledgehammer" school of cinematic indulgence. My lone criticism of "Slippery Slope" stems not from any significant component of its script, direction, or production values, but from one scene and one scene only that takes place on a New York street when Gillian, serendipitously encounters an actor who appeared in her documentary but has since shifted over to the less reputable but more remunerative realm of pornography (and New York pornography at that, which has its own unique sensibilities setting it apart from L.A. pornography, as any New Yorker knows...) The dialogue during this scene is unfortunately drowned out by the verities of New York street noise, and it was difficult to make out what was being said by the actors as they walk down the sidewalk discussing the way their lives have changed, or not, since the completion of "Feminism For Dummies." (One of my favorite exchanges in the movie occurs during this scene and happily, I caught it: "...Porn makes ten billion bucks a year, same as Hollywood." Reply: "That just says there's a big audience for showing women as nothing more than a support system for a vagina and breasts.")

There are no conflagrations other than those of the emotional kind; no car chases other than when the husband roars off in his dilapidated clunker to "catch" his wife in the act; no special effects except for a sweet, funny scene that uses plastic dolls to represent the action in the porn film she is writing - on a deadline, no less! - and no loud, obtrusive soundtrack to distract viewers from the important elements that make this film so special and unique. There is only a great story, fabulous script, authentic acting (and don't think "acting" the part of a porn actor doesn't require its own special skill set, which the four "porn" actors all employ wonderfully,) a delightful surprise ending, and an overarching message that in Schenck's more than capable hands, becomes a path to both enlightenment and hilarity.

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