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His film The Lobster is no exception. For instance: no masturbation is allowed at the hotel this story takes place in, but sexual stimulation via a hotel maid is required.

Oh Yorgos. The true story of the most debauched rock group ever, The Dirt follows Mötley Crüe through the heady days of the s as the heavy metal band becomes as famous for their love of sex and drugs as much as their rock and roll.

Spike Lee's first feature film is an indie black-and-white comedy starring Tracy Camilla Johns as a young woman in Brooklyn who juggles three potential boyfriends.

The shocking directorial debut from Elizabeth Wood follows Leah, a young college student in New York who falls for the wrong guy—and will go to extreme lengths to keep him in her life.

Rocco Siffredi offers an intimate behind-the-scenes look at his life as a porn star on the eve of his retirement from the business.

You may have heard about Chris Pine's full-frontal scene, which is barely sexy. But his love scene with co-star Florence Pugh is certainly hot and heavy.

Game of Thrones ' Natalie Dormer co-wrote this sexy thriller about a blind woman who hears her neighbor's Emily Ratajkowski murder, which sends her down a dark rabbit hole or violence and corruption.

Director Miguel Arteta co-wrote the screenplay for this comedy with Alia Shawkat, who stars as one half of a couple alongside Laia Costa that meets at a club and discovers intimacy through frequent sex.

Nicholas Hoult and Laia Costa play a pair of millennials who navigate through a complicated and unwieldy hookup culture in modern-day Los Angeles.

We watch movies to feel something— to laugh, to love, to be frightened, and, yes, even to be turned on. Done tastefully, sex can be the driving force of a movie—whether it be through on-screen chemestry, steamy leads, or the challenges and triumphs of love.

Jason Sudeikis plays a lothario. Alison Brie plays a serial cheater. A dozen years after hooking up, they meet and form a platonic relationship, but then, yeah, feelings start creeping in.

Come for the sexiness, stay for the hilarious scene when they get high and go to a children's birthday party. United States.

Type keyword s to search. Today's Top Stories. The Real Chadwick Boseman. Advertisement - Continue Reading Below. The Devil's Advocate.

Elisa and Marcela. The One I Love. The story of a young woman's descent into the kinky and dangerous sexual underground in Madrid.

Votes: 3, Not Rated min Drama, Romance. Unrated min Drama. David, an independent photographer, and Katia, an unemployed woman, leave Los Angeles, en route to the southern California desert, where they search a natural set to use as a backdrop for a Unrated 77 min Drama.

A woman employs a gay man to spend four nights at her house to watch her when she's "unwatchable". Votes: 5, R 85 min Drama, Romance.

Coming of age. In Buenos Aires, Eloy is on the verge of manhood. He studies physics, helps with the family headstone business, and does advertising - handing out flyers while walking on Votes: 2, Not Rated 93 min Drama.

Ken Park is about several Californian skateboarders' lives and relationships with and without their parents.

Votes: 28, Unrated 99 min Drama. Angela an illegal immigrant living in Los Angeles stumbles across Bill, a disgraced banker on the run.

Through sex, conversation ranging from politics to philosophy, and other worldly pleasures, Angela introduces Bill to another worldview.

In a social context deteriorated by a countrywide economic crisis, the life of several people will be turned upside down after they meet Cecile, a character who symbolizes desire.

A young single mother drops her son of at the bus stop to visit his dad in Paris. After being late for work, she almost gets fired.

At the end of her duties she gets into a tricky situation which she handles, with the advice her colleague gave her. Unrated min Drama, Romance.

A deadly car crash sets off three parallel stories of women at crisis points, faltering behind the doors of the same, plain Vienna apartment block.

A bored nurse with a stable, comfortable Not Rated 77 min Crime, Drama, Thriller. Two young women, marginalised by society, go on a destructive tour of sex and violence.

Bringing to screen the real-life story of doomed young runaway Brandon Teena, Boys Don't Cry — along with Fight Club , American Beauty , The Talented Mr Ripley and In the Company of Men — was part of a spate of films that came out at the turn of the millennium to forensically examine what we would now call toxic masculinity back then, the buzzphrase was "masculinity in crisis".

But Boys Don't Cry was different: it didn't simply deal with the destructiveness of male rage but it did so by putting trans issues front and centre.

The decision not to include any of the obvious terms — transgender, transsexual, gay, cross-dresser — in its script was a canny one, in that it freed the character of any narrowing labels and encouraged us to see him as a fully-rounded human, a young person struggling with amorphous identity issues.

Context is key: Seven years before Boys Don't Cry was released, The Crying Game had treated the same topic as a shock-horror plot twist, while two years after that, Ace Ventura: Pet Detective repurposed the theme as a recurring punchline for derisive gross-out gags.

This all came on top of cinema's long history of depicting trans people as unhinged lunatics Psycho , Dressed to Kill , The Silence of the Lambs.

Progress, slow as it may be, is afoot. This is not your typical Hollywood romance though: rather than swooning and sweet nothings we get mousetraps, whips and an array of erotically-charged humiliations.

Inspired by the way My Beautiful Laundrette had normalised gay relationships within mainstream cinema in the Eighties, Shainberg has said he was attempting to do something similar with fetishism.

The first Hollywood film to feature a man being sexually pleasured with a hollowed-out peach? Meet slick corporate titan James Wheeler Mickey Rourke.

He likes helicopters, cars, motorbikes, boardroom takeovers and having complete erotic control over submissive women.

He was abused as a child, doesn't like to be touched, and in almost every other way possible he articulates the character template for Fifty Shades of Grey 's Christian Grey.

He even speaks in that same halting, slightly sick-making, so-pervy-it's- sexy yeah, right prose beloved of …Grey creator EL James. When she asks him what's up, he simply smiles, super cool, half-winking at the boys in the audience, and sighs, "I just like watching you walk!

And yet the eerie prescience of Wild Orchid is not what makes it great, or why it is one of the definitive moments in the history of movie sex.

No, the film, written and directed by Zalman King, demands our attention because it is the literal, and chronological, highpoint of Eighties Hollywood erotica.

But Wild Orchid topped them both. For with its lurid Latin setting Wheeler is in Buenos Aires to buy a hotel, as you do , rampantly fornicating locals and the suggestion that, if you opened the window of your limousine you were likely to get hit by flying spunk, it had the edge on the competition.

Best of all, it boasts a closing sex scene Wheeler and Emily in lotus, shot mostly from above, sparing no blushes so protracted and explicit it troubled the censors the film was originally rated X.

You know? Doing it for real? Do you have any idea how many people were standing around? It was mortifying!

Art house movies. We get it. They do sex. That's their thing. From Swedish nudes in Summer with Monika to the butter-based penetration of Last Tango in Paris to crazy irascible beach-side sessions in Betty Blue , nothing screams "art house" more than a smartly directed and gamely acted sex scene.

Then came Blue is the Warmest Colour. The film, which won the Palme d'Or at the Cannes Film Festival in , wiped away everything that had gone before it.

The hideous rape of Monica Bellucci in Irreversible ? The grimly determined humping from Japanese classic In the Realm of the Senses?

All gone. Faded in comparison. Plus, it was gay sex. So it made the cutesy girl-on-girl action in Bound and Mulholland Drive seem dubious and cheap.

Looks are exchanged, picnics are arranged, kisses are traded and then everything grinds to a halt at approximately one hour and 11 minutes into the movie, when director Kechiche and his two lead actresses deliver the type of jaw-to-the-floor sex scene that has subsequently raised the movie-sex bar to insane heights of verisimilitude and has pushed the literal definition of "simulated" to breaking point.

For here, over seven long breathy, sweaty, brightly-lit minutes, we run the unapologetic gamut of licking, sucking, squeezing, fingering, rimming, ramming, slamming, and general slithery, grindy, intercrural mayhem.

The scene has many detractors including the actresses themselves, who famously rounded on their director: Seydoux said making it was "horrible" and she would "never" work with Kechiche again.

Once the film began sweeping up during the awards season, however, they recanted and said that they were "happy" with it.

And yet, look at the scene now, within the movie, and away from the hype, and it doesn't play too well. It's crudely lit. It's brazen, and yet also crass.

And what it says, in its many nipple shots, arse close-ups, and vaginal teases, is that perhaps all sex scenes, no matter how well-intended, or how groundbreaking and profound, are inherently, well, kind of sleazy.

Tarzan is lying on the sand in his trademark loincloth and, oddly, a funky headband. Undeterred by the outfit, Jane starts touching.

Tarzan, clearly uncomfortable with the whole date-rapey vibe, leaps back into action dragging the movie through a series of strange, breast-based set-pieces that climax in a quirky "native jungle village" actual location: Sri Lanka.

The film, of course, is genius. No, really. Because it parlayed over 20 years of Russ Meyer sexploitation flicks see Faster, Pussycat! And what an event!

There was a much-hyped lawsuit from Tarzan creator Edgar Rice Burroughs' estate, orders for nudity cuts from the studio, and publicised cries of "censorship!

Something happened with sex scenes around the millennium. They went from being slightly tawdry Angel Heart , , titillating Risky Business , and tacky Porky's , to dramatically satisfying and, ultimately, Oscar-worthy.

Nowhere is the switch more evident than in Monster's Ball , where former B-list actress Halle Berry snagged the Best Actress Oscar partially because of the "bravery" she displayed during the terrifying sex scene.

He's a prison guard who meets her in a diner. She's grieving for her dead son. He takes her home.

They drink whiskey. She starts blubbing. Thornton puts a nervous hand on her shoulder. Then, wham, she pulls down her top and starts chanting, "Make me feel good!

Can you make me feel good? Naturally, he goes for it good man, Billy Bob! Thus follows five minutes of raw therapeutic ramming, artfully intercut with close-ups of hands freeing a birdie from its cage hang on!

I think I get this metaphor! Give me a second! Is it to do with freedom? Director Forster said: "When I spoke to Billy Bob and Halle, I told them it was important that these two emotionally repressed characters start the sex scene raw and animalistic.

They express everything that has been repressed for years. So did the Oscar voters. The film, in which he stars as a lawyer in rainy Portland, Oregon, defending a part-time gallery owner and full-time dominatrix Madonna charged with murder-by-vagina, is generally derided as a giggle-inducing, all-time cinematic low.

Perhaps typically, or not, Dafoe had much to defend in the film. He liked playing the bitch to Madonna's butch.

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The poster was a masterpiece of tantalisation: the surnames of its two stars and director printed above a shot of Cruise and Kidman locked in a raunchy coital embrace, Kidman glancing suspiciously at the camera.

It promised everything you could want: sex, scandal, glamour and star power, overseen by a recently departed visionary.

Low-trash repackaged as high art. Little surprise, then, that the film came out to mixed reviews and an underwhelming box office.

It was about sex, just not in the way multiplex audiences were used to. This was sex not as pleasure but as manipulation, status, corruption, unease and distress.

The film is based on a novel written in Freud-era Vienna about the sexual odyssey of a doctor after his wife confesses to having fantasies about another man.

Kubrick turned it into a chilly, lurid look at the psychosexual underbelly of American high society. The film recast Cruise, a hunky all-American golden boy, as charmless and sexually anguished, a man unable to get laid for love nor money, and the cavorting Kidman as brooding and unfulfilled.

It was hard to escape the idea that the joke was on us. In a way, the lurid hype — and that poster — were the perfect precursor: the film is less about the reality of sex than the idea of it, and how what we expect to titillate us will often haunt and disturb instead.

David Cronenberg is a filmmaker with two fascinations. The first is the human body, specifically in a state of injury or mutilation.

The second is the psychology of sexual power. None of his films combine the two more acutely than this adaptation of JG Ballard novel about a cult-like group of people who find themselves uncontrollably aroused by car accidents.

An unorthodox premise, and one that in lesser hands would be an open invitation to make a taboo-breaking sex-and-gore shlockfest, a la Hostel or The Human Centipede.

The film passed uncut. Bringing to screen the real-life story of doomed young runaway Brandon Teena, Boys Don't Cry — along with Fight Club , American Beauty , The Talented Mr Ripley and In the Company of Men — was part of a spate of films that came out at the turn of the millennium to forensically examine what we would now call toxic masculinity back then, the buzzphrase was "masculinity in crisis".

But Boys Don't Cry was different: it didn't simply deal with the destructiveness of male rage but it did so by putting trans issues front and centre.

The decision not to include any of the obvious terms — transgender, transsexual, gay, cross-dresser — in its script was a canny one, in that it freed the character of any narrowing labels and encouraged us to see him as a fully-rounded human, a young person struggling with amorphous identity issues.

Context is key: Seven years before Boys Don't Cry was released, The Crying Game had treated the same topic as a shock-horror plot twist, while two years after that, Ace Ventura: Pet Detective repurposed the theme as a recurring punchline for derisive gross-out gags.

This all came on top of cinema's long history of depicting trans people as unhinged lunatics Psycho , Dressed to Kill , The Silence of the Lambs.

Progress, slow as it may be, is afoot. This is not your typical Hollywood romance though: rather than swooning and sweet nothings we get mousetraps, whips and an array of erotically-charged humiliations.

Inspired by the way My Beautiful Laundrette had normalised gay relationships within mainstream cinema in the Eighties, Shainberg has said he was attempting to do something similar with fetishism.

The first Hollywood film to feature a man being sexually pleasured with a hollowed-out peach? Meet slick corporate titan James Wheeler Mickey Rourke.

He likes helicopters, cars, motorbikes, boardroom takeovers and having complete erotic control over submissive women.

He was abused as a child, doesn't like to be touched, and in almost every other way possible he articulates the character template for Fifty Shades of Grey 's Christian Grey.

He even speaks in that same halting, slightly sick-making, so-pervy-it's- sexy yeah, right prose beloved of …Grey creator EL James.

When she asks him what's up, he simply smiles, super cool, half-winking at the boys in the audience, and sighs, "I just like watching you walk!

And yet the eerie prescience of Wild Orchid is not what makes it great, or why it is one of the definitive moments in the history of movie sex.

No, the film, written and directed by Zalman King, demands our attention because it is the literal, and chronological, highpoint of Eighties Hollywood erotica.

But Wild Orchid topped them both. For with its lurid Latin setting Wheeler is in Buenos Aires to buy a hotel, as you do , rampantly fornicating locals and the suggestion that, if you opened the window of your limousine you were likely to get hit by flying spunk, it had the edge on the competition.

Best of all, it boasts a closing sex scene Wheeler and Emily in lotus, shot mostly from above, sparing no blushes so protracted and explicit it troubled the censors the film was originally rated X.

You know? Doing it for real? Do you have any idea how many people were standing around? It was mortifying! Art house movies.

We get it. They do sex. That's their thing. From Swedish nudes in Summer with Monika to the butter-based penetration of Last Tango in Paris to crazy irascible beach-side sessions in Betty Blue , nothing screams "art house" more than a smartly directed and gamely acted sex scene.

Then came Blue is the Warmest Colour. The film, which won the Palme d'Or at the Cannes Film Festival in , wiped away everything that had gone before it.

The hideous rape of Monica Bellucci in Irreversible ? The grimly determined humping from Japanese classic In the Realm of the Senses?

All gone. Faded in comparison. Plus, it was gay sex. So it made the cutesy girl-on-girl action in Bound and Mulholland Drive seem dubious and cheap.

Looks are exchanged, picnics are arranged, kisses are traded and then everything grinds to a halt at approximately one hour and 11 minutes into the movie, when director Kechiche and his two lead actresses deliver the type of jaw-to-the-floor sex scene that has subsequently raised the movie-sex bar to insane heights of verisimilitude and has pushed the literal definition of "simulated" to breaking point.

For here, over seven long breathy, sweaty, brightly-lit minutes, we run the unapologetic gamut of licking, sucking, squeezing, fingering, rimming, ramming, slamming, and general slithery, grindy, intercrural mayhem.

The scene has many detractors including the actresses themselves, who famously rounded on their director: Seydoux said making it was "horrible" and she would "never" work with Kechiche again.

Once the film began sweeping up during the awards season, however, they recanted and said that they were "happy" with it. And yet, look at the scene now, within the movie, and away from the hype, and it doesn't play too well.

It's crudely lit. It's brazen, and yet also crass. And what it says, in its many nipple shots, arse close-ups, and vaginal teases, is that perhaps all sex scenes, no matter how well-intended, or how groundbreaking and profound, are inherently, well, kind of sleazy.

Tarzan is lying on the sand in his trademark loincloth and, oddly, a funky headband. Undeterred by the outfit, Jane starts touching. Tarzan, clearly uncomfortable with the whole date-rapey vibe, leaps back into action dragging the movie through a series of strange, breast-based set-pieces that climax in a quirky "native jungle village" actual location: Sri Lanka.

The film, of course, is genius. No, really. Because it parlayed over 20 years of Russ Meyer sexploitation flicks see Faster, Pussycat!

And what an event! There was a much-hyped lawsuit from Tarzan creator Edgar Rice Burroughs' estate, orders for nudity cuts from the studio, and publicised cries of "censorship!

Something happened with sex scenes around the millennium. They went from being slightly tawdry Angel Heart , , titillating Risky Business , and tacky Porky's , to dramatically satisfying and, ultimately, Oscar-worthy.

Nowhere is the switch more evident than in Monster's Ball , where former B-list actress Halle Berry snagged the Best Actress Oscar partially because of the "bravery" she displayed during the terrifying sex scene.

He's a prison guard who meets her in a diner. She's grieving for her dead son. He takes her home. They drink whiskey. She starts blubbing.

Thornton puts a nervous hand on her shoulder. Then, wham, she pulls down her top and starts chanting, "Make me feel good! Can you make me feel good?

Naturally, he goes for it good man, Billy Bob! Thus follows five minutes of raw therapeutic ramming, artfully intercut with close-ups of hands freeing a birdie from its cage hang on!

I think I get this metaphor! Give me a second! Is it to do with freedom? Director Forster said: "When I spoke to Billy Bob and Halle, I told them it was important that these two emotionally repressed characters start the sex scene raw and animalistic.

They express everything that has been repressed for years. So did the Oscar voters. The film, in which he stars as a lawyer in rainy Portland, Oregon, defending a part-time gallery owner and full-time dominatrix Madonna charged with murder-by-vagina, is generally derided as a giggle-inducing, all-time cinematic low.

Perhaps typically, or not, Dafoe had much to defend in the film. He liked playing the bitch to Madonna's butch. He was disappointed with the marketing hype that revolved around Madonna's nudity.

And mostly, he felt that Madonna became an unhelpful "symbol" for the bad buzz around the film. And in the end, it was one of those cases where the symbol of the movie began to matter more than what the movie actually was, even for those people who hadn't seen it.

And certainly, re-watched today, Body of Evidence is not any more preposterous or poorly acted than, say, Sea of Love , Basic Instinct , Sliver , Disclosure , or any one of the vapid, push-button Hollywood flesh-fests that came before or after it although you possibly haven't lived until you've seen Madonna square up to Dafoe and hiss, "Have you ever seen animals make love, Frank?

It's intense! Instead, what remains in Body of Evidence , and very much so, is a profound sense of the ridiculous "That's what I do, Frank.

I fuck! Kids is pretty much in its own category. For the questionably voyeuristic child-sex genre is, thankfully, a limited business, and mostly limited to the films of Larry Clark — see also Bully , Ken Park and Wassup Rockers It doesn't help that, with Kids — a day in the life of teenage New York skaters, dossers, drinkers, stoners and shaggers — Clark shoots his subjects via a "documentary" style that borders on creepy cinematic stalking, where every lifted limb is captured, every naked profile, every panty flash noted.

And yet. It's hard to dismiss Kids. And there's certainly a sense that the cinematic world is a more complex and intellectually rigorous place because of its existence.

Listen, for instance, to Clark himself questioning the validity of the film's NC rating. And every fucking movie now, has this sex scene in it, you know the guy's laying on his back and the girl's wiggling on top of him, he's got her breasts, and it's this stylised fake shit.

But they're not NC Everything in that movie is in my film. It's about a teenage girl who's looking to lose her virginity.

There's pot-smoking and drinking, and a scene where she walks out of a party and she's stepping over bodies and people are throwing up in the swimming pool.

It's a lot of the same stuff that's in Kids , but it's done in the stupidest way, and everyone just finds it so fucking funny because it's so cute.

A young single mother drops her son of at the bus stop to visit his dad in Paris. After being late for work, she almost gets fired. At the end of her duties she gets into a tricky situation which she handles, with the advice her colleague gave her.

Unrated min Drama, Romance. A deadly car crash sets off three parallel stories of women at crisis points, faltering behind the doors of the same, plain Vienna apartment block.

A bored nurse with a stable, comfortable Not Rated 77 min Crime, Drama, Thriller. Two young women, marginalised by society, go on a destructive tour of sex and violence.

Breaking norms and killing men - and shattering the complacency of polite cinema audiences. Various lives converge on an isolated island, all connected by an author whose novel has become inextricably entwined with his own life.

A chronicle of the life of a middle-class French girl's sexual adventures, her then fall into prostitution, and her ultimate redemption.

Votes: 10, R 99 min Drama, Thriller. A lawyer defends a woman accused of killing her older lover by having sex with him.

Recently paroled after serving a long stretch for his wife's murder, Joey One-Way aligns himself with a producer who has optioned the play he wrote in prison.

As he sets about adapting his Votes: Unrated min Comedy, Drama, Romance. Zaza is a year old Israeli bachelor, handsome and intelligent, and his family wants to see him married.

But tradition dictates that Zaza has to choose a young virgin. She must be R min Drama, Mystery, Romance. A woman, along with her lover, plans to con a rich man by marrying him, earning his trust, and then running away with all his money.

Everything goes as planned until she falls in love with him. Sabine is in love with Julia, but pulled simultaneously to the irresistible television program host Stella Moon.

A female lawyer becomes mesmerized by a self-made millionaire during an encounter in Rio setting off a series of erotic encounters. R min Drama, Mystery, Thriller.

A violent police detective investigates a brutal murder that might involve a manipulative and seductive novelist. R min Action, Adventure, Crime.

An ex-con and his devoted wife must flee from danger when a heist doesn't go as planned. Hoping to alter the events of the past, a 19th century inventor instead travels , years into the future, where he finds humankind divided into two warring races.

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Intimacy R min Drama, Romance 6. The Ages of Lulu 16 95 min Drama 5. Twentynine Palms Unrated min Drama 5.

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