There comes a point in Matthew Barney's Cremaster 4 (1994)--right about when the tap-dancing satyr character is completing his peristaltic journey down the long, plasticine birth canal past the polyps, while the two motorcycle teams (yellow and blue, with sidecars) that are circling the Isle of Man in opposite directions from one another are racing toward a head-on as the camera cuts quicker and quicker between them, while the gelatinous grubs that have gradually emerged from the cyclist's bodysuits have advanced or retreated to their furthest positions, and the Laughton sheep stands placidly in the center of the roadway right smack in the middle of the two oncoming motorcycles (which is also the precise spot at which the tap-dancing satyr is about to surface)--there comes a point when you say to yourself, I've just got to see how this comes out.