Disgusting Sex Scenes

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Cinema’s Most Terrifying Sex Scenes!
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Alfred Hitchcock once delivered a disturbing bit of directorial advice: “Film your love scenes like murders, and your murders like love scenes.” Or something like that… the details are a bit vague. Whether Hitch made that exact declaration or not, the concept is still disturbing – and says a lot about artists, storytellers and audiences’ relationship to sex in general. As open-minded and progressive as we often pretend to be as a culture, I suspect that, deep down, Americans are still pretty scared of sex – and even of ourselves as sexual beings. Of course, wherever fear lurks, eventually someone will step in to capitalize on it… and no creative medium captures the collective imagination more completely than the movies. In that light, I’ve selected some significant cinematic examples of physical love taken to its most horrific extremes.
Not all of these scenes come from horror films, but they are all unquestionably the stuff of nightmares… and probably caused many hours of intense therapy among sensitive viewers. Please note that I’m trying to avoid scenes depicting overt rape, as that represents a very different kind of monster (in other words, no Evil Dead tree-porking or rape-revenge scenarios like I Spit on Your Grave). The intercourse in most of these scenes is more or less consensual… or at least within the context of the story. In horror, it’s sometimes hard to define these things.
It probably goes without saying, but I should point out that there’s a few naughty bits on display here, so this post is not entirely work-safe.
Looking for Mr. Goodbar: The Last Pickup
This 1977 drama, based on a novel (and a true story), is the least horror-themed film on this list, but the final minutes are among the scariest I’ve ever witnessed. Diane Keaton’s deeply troubled schoolteacher tries to chase away her personal demons through drugs and a series of rough one-night stands, but when she picks up a disturbed man (Tom Berenger) on New Year’s Eve, she gets far more than she bargained for. Stephen King listed the film’s last scene in his horror thesis Danse Macabre as one of the scariest ever committed to film, and I can see why. It comes out of left field and completely flips the story in the most sudden and nightmarish way possible… and then we fade to black.
Blue Velvet: Frank’s Frightening Fetish
If a director could be singled out for dissecting more of his own mental hangups on film than any other artist, David Lynch would get my vote. There are probably more interpretations of his surreal images than frames of film that comprise them, but I think I’ve mapped at least one tiny fragment of the man’s worldview: he seems simultaneously terrified and attracted to sex. It’s in nearly all of his art in some form or another, but no more obviously than this scene from his 1986 cult classic, in which Dennis Hopper as psychopathic Frank Booth indulges a bizarre sexual fetish with the masochistic Dorothy (Isabella Rossellini), which involves huffing nitrous oxide and a kind of “reverse birth” role-play. No matter how creepy that sounds, Hopper’s performance makes it a hundred times more disturbing.
Frank Henenlotter’s insanely sleazy debut feature boasts dozens of memorably whacked-out moments… but the most horrific of these begins as a surreal dream sequence featuring young Duane Bradley (Kevin Van Hentenryck) running stark naked through the NYC streets to pay a nocturnal visit to his girlfriend Susan (Terri Susan Smith) for a little sleepy-eyed nookie. What we soon realize – as does Susan, to her absolute horror – is that Duane is not actually present; it’s his lumpish, telepathic former conjoined twin Belial who’s humping the poor girl to death (I mean that literally; we even get to see the sticky aftermath). Only the seedy grindhouse atmosphere and low-rent makeup effects will protect viewers from losing their sanity after what they’ve just witnessed onscreen.
The Howling: Bill Gets His Furry Freak On
I’ve seen this 1981 werewolf classic a dozen times, and it just gets more entertaining with each viewing. But when I first saw it as a young pup, I didn’t pick up on Joe Dante’s biting satire and genre savvy – not because I didn’t get it, but because I was too busy pissing myself in terror. One of the scenes that freaked me out the most was the savage mating of Bill (Christopher Stone) and Marsha (Elisabeth Brooks), which begins as a fireside grope-fest and shifts quickly into a fit of drooling, hair-sprouting and (natch) howling as the pair transform into beasts – literally “bumping uglies.” In my early adolescence, the idea of sex was both fascinating and terrifying enough, not to mention the notion of sprouting hair in unexpected places, and this image made it very tangible. Sure, it looks a bit silly today, but 33 years ago… damn.
Angel Heart: Steamy, With a Chance of Showers
The dreamy aura of doom that hangs over Alan Parker’s supernatural noir is so tangible you can almost touch it, so you’d think that a sudden burst of unexplained surrealism would not be so shocking. But back in 1987, this sticky-hot blend of eroticism and gallons of gore was just too much for MPAA censors to handle, and a large portion of it was cut from the theatrical print. The intense and explicit bed-wrestling between Harry Angel (Mickey Rourke) and Epiphany Proudfoot (Lisa Bonet) would have pushed the boundaries enough without the blood-flood, but most viewers today are so jaded they wouldn’t bat an eye. Still, there’s something undeniably hot about this scene… and that may be the most disturbing thing about it.
Rosemary’s Baby: “This is really happening!”
Shocking and controversial for 1968, this notorious sequence from Roman Polanski’s classic is pretty PG-13 by today’s standards, but that doesn’t make it any less haunting. The scene finds young Rosemary Woodhouse (Mia Farrow) in an apparently drugged, half-conscious state, during which her douchey, self-absorbed husband Guy (John Cassavetes) seems to be drunkenly forcing himself on her. That brutish act would be upsetting enough, but as it turns out, Guy may not be the real perpetrator. We catch brief, distorted glimpses of a hairy, demonic beast through Rosemary’s point-of-view, as she is seemingly offered to the thing in a shadowy occult ritual. In the scene’s most chilling moment, she experiences a sudden flash of clarity as she realizes that she’s not dreaming. Up to this point, Rosemary has been depicted as a chaste, childlike girl, which makes this supernatural violation far more unsettling.
Along with David Lynch, I’d also include David Cronenberg as one of very few filmmakers who splatter their fears all over the screen… and the viewer. At the start of his career, Cronenberg tackled the concept of “body horror” – which, of course, includes fear of our reproductive system and all its parts. I could pick half a dozen films that fit the bill, but his first feature Shivers (a.k.a. They Came From Within) tackles the subject without a filter, holding back nothing in its depiction of a phallic parasite that turns its hosts into ravenous sexual predators. The film climaxes in the swimming pool of a futuristic apartment complex, in which nearly all the residents – from very young children to the elderly – paw and grope each other in an all-out orgy that’s not the least bit sexy.
Ouch. Seriously, guys, don’t be rapin’. If you’ve even considered taking a woman against her will, you should be forced to watch Teeth on an endless loop, with no bathroom breaks. You’ve probably heard this premise – virginal teenager Dawn (Jess Weixler) discovers she possesses a very literal vagina dentata, which severs the offending member (or digits, in one case) of any man who tries to violate her against her will. Lots of would-be molesters get theirs in hideously graphic ways, but my personal leg-crossing fave would have to be the literal revenge sex of the film’s climax, after which the offending wiener is gobbled by a dog. Again, ouch.
So, is it rape if the victim is dead? How about if she’s undead? In this disturbing but oddly touching horror drama, I’d say the answer is yes… and even more upsetting than the sexual exploitation of the nameless zombie girl (whose contagious condition is never explained) by a group of troubled high school boys is the way it reveals the living characters’ darkest natures. We’re encouraged to choose sides in favor of the mostly sympathetic protagonist Rickie (Shiloh Fernandez), but his willingness to exploit the situation makes him suspect – especially when he convinces his crush’s dickish boyfriend to have a go with the deadgirl… with predictably nasty results.
Cabin Fever: Wrong Time of the Month
Eli Roth’s feature debut plays its central premise of flesh-eating bacteria mostly for laughs… with a few horrific exceptions. One of the film’s most unnerving revelations comes when Paul (Rider Strong) tries to sneak a little finger-banging action with his crush Karen (Jordan Ladd), who in a previous scene is shown drinking contaminated water. Our boy slides into home, so to speak, but soon finds the situation a bit… well, stickier than he expected. For me, the film’s most genuinely horrifying moment comes shortly after, when Karen’s friends give in to their paranoia and abandon her to her grisly fate.
Friday the 13th Part 2: The Sex-Kebab
Yeah, I know they stole this murder scene (and a handful of others) from Mario Bava’s Bay of Blood, but let’s face it: Friday the 13th and its sequels are far more ingrained in American pop culture than Bava’s works, so I’m going with this one. It’s still effective, despite the absence of the MPAA-snipped wide shot showing Jason’s spear penetrating Jeff (Bill Randolph) – mostly thanks to the close-up of Sandra’s (Marta Kober) horrified face and the bloody spear-point striking the floor with a heavy, wet thunk. The fact that the murder is preceded by a fairly tender love scene between a loving couple makes it a bit more jarring than its Italian counterpart.
Trouble Every Day: She Could Just Eat You Up
This cult item from French director Claire Denis features a truly horrifying set-piece: eerie, animalistic beauty Coré (Beatrice Dalle) plays a woman suffering from an unexplained medical disorder which compels her to literally devour her lovers; in the film’s most disturbing and graphic scene, she wordlessly convinces a young burglar to break into her boarded-up room, presumably with the promise of sex, then promptly chows down on his tender young flesh, gnawing away with wild-eyed glee… while he’s still very much alive. The entire grisly scene plays out in real time, contrasting the boy’s dying screams with Dalle’s lip-smacking delight.
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Horrors Elsewhere is a recurring column that spotlights a variety of movies from all around the globe, particularly those not from the United States. Fears may not always be universal, but one thing is for sure — a scream is understood, always and everywhere.
Distinct elements found throughout Xavier Dolan’s filmography include strained parent-child relationships, queer desire, and discrimination. While his fourth feature Tom at the Farm seems like a complete detour from his previous dramas, his first genre film still manages to cover all three said themes with gravity and style. The addition of psychological horror only underlines Dolan’s growing discipline as a storyteller and flair for complicated characters.
An immeasurable amount of stories sees people reluctantly returning to their hometowns to mend what is broken or find closure, but Dolan’s character is an absolute stranger to the rural town visited in Tom at the Farm. Rather, he only goes there to pay his respects to the family of Guillaume, the love of his life he recently lost to a car accident. The film’s namesake, a young urbanite with a conspicuous coiffure and matching taste in fashion, arrives at his pastoral destination shortly before the funeral. He stays at a dairy farm with Guillaume’s mother Agathe (Lise Roy), who is in the dark about her son’s sexuality and the exact nature of his relationship with Tom.
That night while sleeping in Guillaume’s old bedroom, Tom is rudely awakened by Francis (Pierre-Yves Cardinal), Agathe’s other son he had no idea even existed. Francis is fully aware of who Tom is, and he threatens him to stay silent about everything so as not to upset his mother. The original plan was for Tom to give a eulogy and then leave after the funeral, but instead of escaping when he has the chance, Tom indefinitely stays at the farm. In his quest to make peace with Guillaume’s death and help his family cope, Tom now ignores various warning signs as he latches onto Francis.
Dolan’s adaptation of Michel Marc Bouchard’s play Tom à la ferme differs in both the overall tone and ultimate outcome. Reviews of the stage show pick up on the dark humor in everything, but the filmmaker curbs the comedy for the most part. As a result, viewers are left with an austere display of abuse and festering anguish. Dolan and co-writer Bouchard plot a different course than the one taken in the source material, yet the address remains the same. The play and film each analyze how three disparate people each handle a staggering weight of grief.
The foremost conflict in the movie is between Tom and Francis. From their first meeting, it is clear who the dominant and submissive characters are. Wherever Tom is vulnerable and unsuspecting, be that in the shower or in a restroom stall, Francis suddenly appears as a reminder he controls him. The play has Francis punch and torture Tom into submission — Tom is dangled over a ditch full of dead cows at one point — whereas in the movie, Cardinal’s interpretation is more restrained. The calculating Francis knows he can kill Tom with little effort, but eventually, it is not his fists that make Tom reconsider leaving.
As with most of Dolan’s other films, characters grapple with homophobia. Francis uses his mother’s apparent intolerance as a way to justify his own bias. It never crosses Agathe’s mind Tom could be more than Guillaume’s coworker and friend; she has been led to believe he had a girlfriend named Sarah. This is the work of Francis — he keeps a photograph of his brother kissing this Sarah person on him at all times not necessarily for lascivious reasons, but because it is the only picture of adult Guillaume he has — who created the lie and now wants Tom to play along. Francis presses Tom to explain to his mother Sarah’s absence at the funeral, to which Tom then reworks his unused eulogy on the fly and passes it off as Sarah’s message to Agathe. The mother does not see through the veil because this helps maintain the illusion. The play, on the other hand, shows Agathe learning the truth she likely knew all along on some level.
Meanwhile, Francis’ homophobia is as overt as it is complex. He thinks hiding Tom and Guillaume’s relationship is a way of protecting his mother, but all he is really doing is serving his own agenda. At first, Francis browbeats and bruises Tom into behaving accordingly, yet as time goes by, he comes to feel something other than contempt. It is not certain there is a sexual attraction, seeing as the reasons they are drawn to one another are not identical. For Francis, he firstly sees Tom as a companion who does not yet know about his past. The other townsfolk avoid Agathe’s oldest son or look at him in fear, and Tom has no idea why. That kind of nescience is appealing to a pariah like Francis. The fact that Cardinal’s character does everything in his power to keep Dolan’s from leaving or learning why Francis is so ostracized is evidence of his desperation for kinship.
The play shows Francis and Tom being physically intimate at times; specifically, they kiss, embrace, and sleep side by side. The movie, however, does away with this occasional tenderness in favor of more sustained aggression and
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