A German exploration of bourgeois decadence not dissimilar to Salò some 20 years earlier, the 1996 drama is framed around the titular alien’s arrival in the late Victorian era, and their desire to learn about sexual practices of humankind, who have been greatly admired from afar by E.T’s species. This species has sent a female E.T on a desperate mission to reclaim knowledge of the greatest sexual pleasures out there, for their species are chaste on a cultural level.
At first, E.T. is only capable of watching, hiding in the doorway; while the aristocracy explode their ill-gotten semen over their eyes, E.T. grabs her nipples and masturbates with her vagina. However, what is initially a drama of E.T.’s voyeurism becomes much more; perhaps knowing all along she would entrap herself by perceiving the sexual games of the Victorian elite, E.T. is persuaded to become one of their playthings, and Extra Terrestrian: Die Ausserirdische slowly begins to question E.T.’s placement in the nobility’s debauchment, and whether she deserves to escape her psycho-sexual whirlwind. As her plump and wrinkled ass is being dicked to smithereens, she utters perhaps her most famous line: “I miss my home planet.” It is one of cinema’s greatest tragedies that scheduling issues prevented its submission for the 1997 Palme d’Or.
And yet, after a final test – becoming a link in the chain of lesbians fingering one another, and getting her pruned pussy blown open by a Hugh Jackman lookalike – E.T. retains her individuality and her spirit, and with perhaps a pang of regret, resolves to bring this strange new knowledge to her species.
