Sex Boy Young Film
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Sex Boy Young Film
HAVOC, Freddy Rodriguez, Anne Hathaway, 2005, (c) New Line/courtesy Everett Collection
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Here’s something that many will consider a terrifying fact: teenagers are having sex. While most films dance around the issues or romanticizes it, there are a few that have boldly depicted the sexual lives of very young people. This year, Gia Coppola may be joining the other directors on our list, as her debut film Palo Alto (starring James Franco and Emma Roberts ) is hitting theaters soon. Coppola’s film, based on a short story by Franco himself, will follow a group of unsupervised kids who turn to drugs and casual sex for entertainment. And while we look forward to this unique spin on the subject, we have to give it up to a few folks who did it first. Here are five unforgettable movies about the sex lives of kids.
In Eliza Hittman’s feature directorial debut we meet Lila and Chiara, we meet two friends coming of age in Brooklyn, New York. The film follows both girls as they chart out different paths to their first sexual experiences. But the film is especially interested in the performative aspects of youth and sexual identity. Lila is as fascinating a character as she is heartbreaking, and her attempts to either be the woman she is growing into or the woman she thinks the young boys around her want (boys who are also performing their own identities) are often so authentic they’re uncomfortable. The influence of Catherine Breillat’s Fat Girl weighs heavy on the film, but Hittman’s unique, contemporary sensibility peers through. Unlike some other films on this list, It Felt Like Love attempts to be more honest than cautionary, even if that honesty makes us squirm.
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Johnathan Gurfinkel’s intense Israeli drama centers on Gigli, the new girl looking to make a name for herself at school. A difficult film to endure at times, S#x Acts raises questions about sexual consent between teenagers. Gigli goes to great lengths to gain popularity, and we watch as she pretends to be sexually uninhibited while often being taken advantage of or even raped on multiple occasions. Like many of these films, the focus is on these young people who seem to have little-to-no parental supervision. But the story gets even more interesting when parents get involved, either by choosing to do something or choosing to look the other way.
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If you took any course on feminism or film in college, here’s hoping you got acquainted with Catherine Breillat. No stranger to controversial pieces (her debut feature, A Real Young Girl , was banned until 1999), Fat Girl stunned audiences with its stark depictions of young sexuality and violence. With a powerful final scene that intertwined both, Breillat’s film certainly had its shocking moments. But some of the best scenes showed the conversations between two sisters (Anaïs and Elena) and offered up two very unique views on love and sex.
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Anne Hathaway went from The Princess Diaries to this unbelievably indie tale (directed by Barbara Kopple) of super-rich kids with nothing but time on their hands in the Pacific Palisades. Alongside Bijou Philips and Joseph Gordon-Levitt, Hathaway played Allison Lang, a bored high school student who heads to the hood to find trouble and a crowd more interesting than her own. Havoc is as much about race and class in America as it is about sex, but all of these issues collide in a powerful way as Allison learns that crossing invisible borders is much more complicated than it looks.
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Written by Spring Breakers director Harmony Korine, there can be no discussion about kids having sex in movies without Kids , the movie. Larry Clark’s directorial debut took on sexuality, AIDS, drugs, and New York City in a film that introduced many of us to Chloë Sevigny and Rosario Dawson. Clark unflinchingly presents his subjects as young, free (to a fault), destructive, cruel, and beautiful. He captures the innocence of youth even as it’s being corrupted by the curiosity of youth, and an overwhelming desire to be accepted.
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As mainstream Hollywood lags behind in meaningful explorations of sexuality, these provocative short films embrace the unusual tapestry of human predilections.
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As film festivals pivot to the ever-shifting landscape of distribution and sales, the way we consume independent film is changing more dramatically than anyone could have predicted. Audiences can now experience a wider variety of films online, opening a world of possibilities that will hopefully benefit smaller films. With any luck, the new reality will broaden movie lovers’ horizons enough to include short films , which U.S. audiences can be reluctant to embrace. Most filmmakers begin to craft their voices with shorts, and given the significance of making a strong first impression, the format encourages creative risks. What’s more, younger and emerging filmmakers naturally have a finger on the pulse of more progressive ideas, ensuring a broader range of perspectives.
While mainstream Hollywood struggles to address human sexuality in any meaningful way, these four recently-released short films explore sex and desire with a refreshing playfulness. Whether it’s a feminist genre take on actual bloodlust, or a comedy about an erotic encounter where the two people never touch, these films celebrate the full spectrum of human desire. They’re all available online, though you’ll have to head over to YouTube for the more explicit titles, and each one has its own unique vibe.
Though dealing swimmingly with sexual themes, this daring drama pushes the envelope a bit too far to be considered flat-out sexy. Rather, Australian filmmaker Renée Marie Petropoulos uses sexuality as fertile ground to explore the complex connection between a mother and daughter, and each woman’s complicated relationship to her own sexuality. A quintessential “cool mom” throws a raucous pool party for her wide-eyed teenage daughter, eerily pushing her to flirt with the boys. The older woman saunters in her loose caftan doling out Jello shots, sucking down a cigarette after some boys toss her in the pool with the rest of the teenagers. As her daughter looks on — whether in shame, disgust, or normal teenage angst — an ocean of pain is shared in the glances between the two.
When a cunning teenager steals a dildo and harness from her local sex shop, she suddenly finds herself empowered beyond the imaginations of her small-minded boyfriend. Emboldened by the high of her new toy, she exudes a new confidence in front of her friends, who seem devoted to conventional gender roles. She quickly grows tired of being shut out of the boys’ games, and poses a unique dare to the young men in her circle. But her confidence is rewarded when her macho lover surprises her in exciting ways.
This funky little documentary explores the world of custom-order porn, a niche filmmaking enterprise designed by married couple Dan and Rhiannon Humes. Though they began their career in mainstream porn, the duo soon recognized an opening for user-designed content. Customers approach them with fantasies, whether to explore a specific fetish or to revisit an erotic childhood memory, and the Humes then craft them into bespoke porn. The film shows the coupe lugging camera equipment around their California home, interviewing the performers, and recounting customers and requests that stuck with them. Many of the scenarios are surprisingly moving, like the guy who just wants to see a pretty girl call him “honey” and “love.”
Three films in, and director Mathew Puccini has pretty much covered the gamut of queer experience. With a light touch and a lyrical eye, Puccini’s shorts play like a moving triptych of quietly pivotal moments in the lives of queer men. “The Mess He Made” starred Max Jenkins as a man waiting for the results of an HIV test, and “Lavender” featured Michael Urie as half of a couple who invite a younger third into their longterm relationship. “Dirty” explores the awkwardness of a more universal folly — bottoming for the first time. As always in Puccini’s work, the characters are tender and natural; the images aglow with intimacy.
The most erotic film ever made about a window washer, “Squeegee” follows a delightfully weird tryst between a career woman and the scruffy younger man who washes her office windows. The 10-minute short is almost entirely devoid of dialogue, instead relying on a moody jazz score that wouldn’t be out of place in a noir. Lead actress Amy Rutherford embodies her frisky businesswoman with an empowered girlishness, communicating everything from desperate lust to soulful longing with nothing more than a few subtle looks. The glass that separates the two characters is both a literal safety barrier as well as representative of the often murky disconnect between fantasy and reality. Written and directed by Morgan Krantz, “Squeegee” is an entertaining comedic interlude that has a lot to say about the human condition. You’ll never look at window washers the same way again.
“I find sex to be pretty absurd, and I wanted to show that,” Krantz told Short of the Week , which premiered “Squeegee” in late May. “I’ve also been in relationships with people where we both know there is no practical way to really be together. But when you’re having one of these ‘flings,’ I have found that it can actually be easier to express how wild you are about a person… because you both know that you can never end up together. So that’s the glass between these two characters.”
Lithe and full of longing, a young Italian embraces his provocative drag persona in this short and sensual documentary. Vincenzo is a young queer artist from Naples, Italy who performs cabaret-style drag at La Boum, Milan’s premiere gay club. His soul-searching voiceover narrates visually sumptuous footage of his performances, interspersed with more traditional community scenes of life in Naples. Whether he’s going by Vincenzo, Ambrosia, or Vincenzo D’Ambrosia, the film celebrates his shifting identity as he explains that the very act of naming himself is both confusing and empowering. While he appears confident and beautiful onstage, behind the scenes Ambrosia bounces between concerns about being pretty or feminine enough and feeling like he’s letting down his family every time he puts on a heel. Director Peter Spark expertly crafts this glittery dance between art and artist, allowing the harshness of Ambrosia’s inner monologue to exist side by side in beautiful contrast with his enthralling stage persona.
A young woman anxiously awaits a special visitor in a quaint roadside motel room in this surprising and humorous gore-inflected genre morsel. When her young and lanky massage therapist arrives, he isn’t exactly one for small talk, immediately putting her even more edge. Writer/director Meredith Alloway takes center stage as the eager client; she’s natural and open opposite a deliciously creepy Peter Vack. Following a string of TV roles in shows like “Mozart in the Jungle” and “Homeland,” Vack distinguished himself as a filmmaker with the highly controversial “Assholes,” which premiered at SXSW in 2017, prompting IndieWire’s David Ehrlich to call it “one of the most disgusting movies ever made.” While “Deep Tissue” is more provocative than disgusting, the final reveal is in line with Vack’s own filmmaking philosophy. Keep ’em on their toes, and they’ll eat it right up. You can watch “Deep Tissue” via The Future of Film Is Female.
Quirky and unnervingly erotic, this whimsical stop-motion animation celebrates all kinds of bodies and predilections. The film debuted as part of Sundance Film Festival’s 2018 Midnight Shorts Program, and premiered online as a Vimeo Staff Pick last year. The films spies on different creatures in bed, from lesbian nuns to gender-blending lovers. Animator Michaela Olsen wanted to show “the lives people lead behind closed doors,” and while her intricately crafted figures aren’t all people, each character channels a unique persona even in their brief scenes. “I wanted to play on the idea of seeing every detail of the characters’ worlds and secrets,” Olsen told Vimeo . “They’re opening up their world to you as a viewer and showing you their true selves.”
This Article is related to: Film and tagged Sexuality , Short Films
Under Covers seems interesting because I like stop motion animation.
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From Lars von Trier to John Cameron Mitchell and almost every Vincent Gallo movie, here are the films that actually captured real sex scenes.
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“Wetlands,” “Pola X,” “The Idiots,” “Intimacy,” “Strange by the Lake,” “Immoral Woman”
Sex on film is nothing new, and yet unsimulated intercourse in non-pornographic films has been somewhat of a marvel.
Catherine Breillat ‘s first film in 1976, “A Very Young Girl,” adapts her own controversial novel about a 14-year-old exploring her newfound sexuality. While the lead actress Charlotte Alexandra was age 20 during production, the film wasn’t released in theaters in the U.S. until 2000.
Breillat’s later film, “Romance,” was announced as the first European film with non-simulated sex scenes in 1999, according to Breillat.
“Actors are prostitutes because they’re asked to play other feelings,” Breillat exclusively told IndieWire . “This prostitution is not profane; it’s a sacred act that we give them.”
In contrast, John Cameron Mitchell set out to “honor” sex as a pastime for real people, much like art, music, or cuisine, in his second feature film, “Shortbus,” the 2006 film now rolling out a re-release restoration nationwide.
Mitchell told IndieWire about filming the cult classic, “Certainly, a lot of films had used sex, but they were pretty grim, and I wanted something more fun and funny, but still emotionally deep. And so I said, ‘I never want you to do anything you don’t want to do, but I do want you to challenge yourselves so we can challenge the audience.'”
Mitchell continued, “‘Shortbus’ isn’t about sex. It uses sex as a medium, as a delivery system for ideas and characters and emotions, just like ‘Hedwig [and the Angry Itch]’ uses music. Sex is our music in ‘Shortbus.’ We really only did one sexual rehearsal. I just went with what they wanted to do.”
And the depiction of unsimulated sex onscreen has taken many forms across decades and new political landscapes. “In terms of sex being presented on film, mainstream or even independent film has foresworn it,” Mitchell summarized. “They’ve given it up, because it’s too scary. There’s too many people saying someone’s being exploited and consent-based issues in intimacy. Imagine an intimacy counselor on the ‘Shortbus’ set. Imagine…a ‘Shortbus’
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