Yoko Ono's films occupy a central place in the history of American experimental cinema in the decade of the 1960s, a time of special creative effervescence, a time of formal, industrial, artistic and political challenges, and an era in which cinema began to be seen, without complexes, by many artists as a mean of expression and experimentation at the same level as that of performance, plastic arts or sound art.
I wanted to see if the experience of what I saw would have any correspondence to what I felt-- the intimacy of the lovemaking... And I wanted to put into that materiality of film the energies of the body, so that the film itself dissolves and recombines and is transparent and dense-- as one feels during lovemaking... It is different from any pornographic work that you've ever seen-- that's why people are still looking at it! And there's no objectification or fetishization of the woman. (Carolee Schneemann)