Show Me Sexy Movie

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Show Me Sexy Movie
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Tara presents her own video show where she interviews other glamour models and the general public asking about their sex life and sexual preferences. Tara presents her own video show where she interviews other glamour models and the general public asking about their sex life and sexual preferences. Tara presents her own video show where she interviews other glamour models and the general public asking about their sex life and sexual preferences.
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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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The Car Scene, 'Queen & Slim': Jodie Turner-Smith and Daniel Kaluuya




The Window-Smashing Smash, 'Body Heat': Kathleen Turner and William Hurt




The Snowy Striptease, 'Out of Sight': Jennifer Lopez and George Clooney




The Lakeside Scene, 'Boys Don’t Cry': Hilary Swank and Chloë Sevigny




The Blue Screen, 'Top Gun': Kelly MacGillis and Tom Cruise




The Red Dress Scene, 'In the Realm of the Senses': Eko Matsuda and Tatsuya Fuji




The Cheerleader Scene, 'A History of Violence': Maria Bello and Viggo Mortensen




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The Beach Scene, 'Moonlight': Ashton Sanders and Jharrel Jerome




The Pearl Necklace Scene, 'Ecstasy': Hedy Lamarr and Airbert Mog




A Housewife’s First Orgasm Scene, 'Coming Home': Jane Fonda and Jon Voight




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The Flowers Scene, 'Jason’s Lyric': Jada Pinkett Smith and Allen Payne




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©20thCentFox/Courtesy Everett Collection



The Final Scene, 'North by Northwest': Eva Marie Saint and Cary Grant




The Kitchen Scene, 'The Postman Always Rings Twice': Jessica Lange and Jack Nicholson




The "It Still Isn’t Over Scene," The Notebook: Rachel McAdams and Ryan Gosling




Monica’s First Time, 'Love and Basketball': Sanaa Lathan and Omar Epps




The Standard Hotel, 'Shame': Michael Fassbender and Nicole Beharie




The "Sweet Girl" Scene, 'Black Swan': Natalie Portman and Mila Kunis




'Don't Look Now': Julie Christie and Donald Sutherland 




The Virtual Sex Scene, 'Her': Joaquin Phoenix and Scarlett Johansson’s Voice


Annapurna Pictures/Kobal/Shutterstock



The Food Scene, '9½ Weeks': Kim Basinger and Mickey Rourke




Missionary Puppets, 'Anomalisa': Jennifer Jason Leigh and David Thewlis


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The Scene Responsible for the NC-17 Rating, 'Blue Valentine': Michelle Williams and Ryan Gosling




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'Y Tu Mamá También': Maribel Verdu, Diego Luna and Geal Garcia Bernal 




The Midnight Tryst, 'Mulholland Drive': Naomi Watts and Laura Harring




The Maggie & Forrest Scene, 'Lawless': Jessica Chastain and Tom Hardy




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The Blindfold Scene, '9 Songs': Margo Stilley and Kieran O’Brien




The Big Bite Scene, 'Fresh': Daisy Edgar-Jones and Sebastian Stan




The Muddy Wrestling Scene, 'God's Own Country': Josh O'Connor and Alec Secareanu




The Leggy Scene, 'Love and Leashes': Seohyun and Jun




The Tease-Me Scene, 'Sex and Lucía': Paz Vega and Tristán Ulloa




The Hand Job Scene, 'The Green Knight': Dev Patel and Alicia Vikander




The Storm Scene, 'The Photograph': Issa Rae and LaKeith Stanfield




The Motel Scene, 'The United States vs. Billie Holiday': Andre Day and Trevante Rhodes




The Caddy Scene, 'Titane': Agathe Rousselle and a Flame-Licked Lowrider




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DeAnna Janes
DeAnna Janes is a freelance writer and editor for a number of sites, including Harper’s BAZAAR, Tasting Table, Fast Company and Brit + Co, and is a passionate supporter of animal causes, copy savant, movie dork and reckless connoisseur of all holidays.

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No schoolgirl outfits or money shots here. Unless they're pivotal to the plot of course.
Google the term sex scene and your screen will explode into a hub of NSFW videos and pornographic sites. Lucky for you, we’ve done the dirty work and sifted through the snuff to find the good stuff. From masterfully crafted slasher porn with a contemporary bent to bold novelty coitus with a Cadillac stick shift, we're highlighting some of most authentically sensual private moments caught on camera. We’ll try to keep the innuendoes to a minimum. Try being the operative word.
Getting dirty in the Bible Belt, Grey and Swayze strip down to their skivvies for a romp in a log cabin sound-tracked to the soulful vocals of Solomon Burke’s “Cry to Me.” Now, these days, Baby and Johnny’s slow dance-turned-slow love making would hardly garner a PG-13 rating, but for a girl in her formative years, watching that scene in the late ‘80s was something to behold.
Though the final chapter has long been closed on the Brangelina love story, there’s no harm in revisiting the prologue to their romance. Mr. and Mrs. Smith , Doug Liman’s spy action thriller starring the two heartthrobs, marks the beginning of what would become iconic coupledom, and it includes a sex scene—complete with all the chemistry and fire power of their characters’ automatic weapons—that proves there is a very thin line between love and hate.
Ang Lee is credited with bringing a queer love story to mainstream cinema with his ruminating and meditative Brokeback Mountain , starring two of Hollywood’s most well-known and A-list actors. Gyllenhaal and Ledger saddle up to play gay cowboys whose relationship becomes official in a secluded tent after a night of too much whiskey. For another, much rawer, take on queer romance, check out God’s Own Country .
It’s a new film—having been released just last year—but what Jodie Turner-Smith and Daniel Kaluuya do to each other in a car results in one of the hottest sex scenes to ever make it into the reel can. Queen & Slim is a racially charged film about injustice that draws comparisons to Bonnie and Clyde and Thelma & Louise , so this particular scene isn’t without its own protest, but damn if it isn’t steamy.
Erotic thrillers really found their B-movie stride in the ‘90s with Basic Instinct , Sliver , Disclosure , and Wild Things , but honestly William Hurt and Kathleen Turner were waxing passionate in sexy neo-noir cinema long before Sharon Stone went commando under that little white dress. Here, Turner plays Matty Walker, a housewife who somehow convinces Hurt’s Ned to break into her house and strip her of her inhibitions … and her underthings.
One of the most celebrated sex scenes of all time, this one is artfully done and told out of sequence—director Steven Soderbergh being as playful with editing and time and narrative as his two leads, Jennifer Lopez and George Clooney, are with each other. Flirty and cheeky as they undress, they do finally get horizontal, their lips do finally lock, and unfortunately, the screen does finally fade to black.
Director Kimberly Peirce takes a tender approach to depicting a transgender man getting intimate with his dream girl in Boys Don’t Cry , the 1999 indie drama that would score its leading actress, Hilary Swank, a Best Actress Oscar win. It costars Chloë Sevigny as said dream girl and the two reach oral heights under the stars in a field by a lake late at night.
Movie watchers are finally given their release after that sweaty display of macho pseudo-athleticism on a beach volleyball court when Maverick (played, of course, by an aviator-sporting classic Tom Cruise) and his bombshell instructor (Kelly MacGillis) use their tongues to get to know each other’s bodies in front of a blue screen while Berlin’s “Take My Breath Away” plays in the background. It’s semina
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