Roger Ebert, still stunned 25 years after the fact:
"How do you review a movie like this? I am reminded of an interview I once did with a man who ran a carnival sideshow. His star was a geek, who bit off the heads of live chickens and drank their blood."
"Last summer, when it became clear that cancer would inevitably take his life, George Kuchar entered a hospice in San Francisco. He brought his video equipment with him, shooting and editing footage inside what would serve as his final residence. At age sixty-nine, the underground film legend was reportedly the youngest person in the hospice at that moment—appropriate for a guy who began his career as a teenage director and always retained the energy of a gum-snapping adolescent. Even at the end, he could play the kid with the camera."
Presented as loosely autobiographical, Hold Me While I’m Naked
centres on the tribulations of an independent filmmaker, frustrated at every turn as he tries to make a film that pretends to artistic merit. Heavily indebted to Hollywood’s high priest of unrestrained Technicolor melodramas, Douglas Sirk, the saturated colours and treasure-trove of kitsch artefacts in Kuchar’s first 16mm colour production jar with the mock-seriousness of its subject matter. Addressing a topic that permeates a significant body of “serious” art, namely the position of the artist in relation to art itself and the world from which he draws his material, it questions the conventional solemn treatment of this theme.http://www.sensesofcinema.com/2004/cteq/hold_me_while_im_naked/