Teen Film Erotic Tv
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Being a teenager is hard enough, but once the hormones start raging, all bets are off. These films will help you get through it (or remember it semi-fondly).
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Risky and risqué, indie films have always been a home for bold, honest, and controversial visions of teens’ sexuality . Eliza Hittman’s “ Beach Rats ,” opening this week after bowing at Sundance in January, is another notch in the belt of the sub-genre, a sensitive and often shocking look inside the coming-of-age of a young Brooklyn teen.
Like the best of these films, it’s not all about hormones; it builds on questions about identity and desire. But that’s there too, in sensitively crafted scenes that don’t skimp on reality. Punctuated by some bad choices and an unnerving final act, “Beach Rats” embraces the full spectrum of teen sexuality, even when it’s not exactly alluring.
Here are eight indie films that engage with the subject matter in appropriately intimate ways.
While “Beach Rats” isn’t an official sequel to Hittman’s previous film, “It Felt Like Love,” the filmmaker explores similar themes and structures and both, told from seemingly opposite vantage points. Set during another languorous Brooklyn summer, Hittman’s debut follows 14-year-old Lila (a fearless Gina Piersanti), awkwardly and constantly exposed to the sexual exploits of her older friend Chiara (Giovanna Salimeni), who goes through boyfriends and experiences with the kind of ease that Lila can scarcely imagine. Lila’s desire to be, well, desirable , finds her fixating on a local boy Sammy (Ronen Rubinstein) with a reputation, whom she doggedly pursues in hopes of striking up a relationship. Lila’s emotional immaturity constantly butts up against her deep physical desires, leading her into increasingly fraught situations she’s not equipped to handle. Like “Beach Rats,” Hittman slowly spoons out important revelations, but its the smallest details that hurt — and hit — the most.
Abdellatif Kechiche’s rigorously erotic three-hour romance initially spawned Cannes walkouts before picking up the Palme d’Or, split three ways between Kechiche and his stars Adele Exarchopoulos and Lea Seydoux, proof of the level of dedication all three of them poured into a wild (read: maybe even nightmarish) shoot. While “Blue” earned big buzz because of the obvious — its long-form sex scenes, alternately hot and totally exhausting — that only obscures the finer points that Kechiche and his ladies put on the ill-fated romance between Adele and Emma. Hormonally speaking, it’s essential that the film opens when Exarchopoulos’ Adele is still slogging through high school, all burning desires and deep boredom, the perfect time for her to meet and fall obsessively in love with the slightly older Emma. There’s no love quite like the first, and while Adele’s awakening isn’t just about sex, but also her sexuality, that her most formative of experiences comes at the hands of another woman is simply one facet of a highly relatable love story. Sure, audiences may still flock to the film for its unbridled sex sequences, but there’s no scene more telling than Adele, stuffing her sauce-stained face full of spaghetti, bursting with new desires that have to be redirected somewhere .
Awkward, horny teens eager for sexual satisfaction are hardly underrepresented in the entertainment world — hello, sex comedies — but films that center on teenage girls and their kinkiest desires are still outliers. Jannicke Systad Jacobsen’s Norwegian festival favorite doesn’t shy away from showing off just how gross, weird, and yes, horny as hell girls can be, too, all filtered through the experience of indomitable Alma (Helene Bergsholm). When the film opens, Alma’s sexual awakening is already chugging right along, though it’s about as tragically amusing as it gets, punctuated by routine calls to a phone sex line and a mother who just doesn’t get it. Alma’s life gets both worse and better when a popular peer pokes her with his penis at a casual gathering (romance!), and she refuses to let him live it down, alternately turned out and a little freaked out. Her isolation grows (turns out, high school kids are awful), but her libido won’t be tamed — a strange mix that adds up to a risky, funny feature topped off by some big truths.
Dee Rees’ lauded feature debut (based on her short of the same name) is a revelatory look inside the fraught coming-of-age of Brooklyn teen Alike (Adepero Oduye), as she conceals her sexual desires — and, in many ways, her entire identity — as outside forces push her to be honest about what she wants. That’s a hard enough concept for even the most well-adjusted of teens to face, but for Alike, trapped by a restrictive family and pushed to conceal everything from her wardrobe to her taste in music, it feels nearly impossible. Rees peppers in moments of Alike embracing her true feelings, brief flashes of freedom that hint at who she could be if she didn’t need to hide, but they also live alongside nerve-wracking reveals that drive home just how trapped she is. For Alike, her sexual awakening comes hand and hand with her personal growth, and neither will be the same by the film’s moving conclusion. She is not running, she is choosing.
David Wnendt’s 2013 German drama goes there. And also there, there, and there, right around there, over there, and down there. If there’s an orifice for leading lady Carla Juri to probe in pursuit of pleasure (and maybe even some pain), she’s going to do it. Possibly also with a vegetable. The most out-there, oh-wow coming-of-age story of the century, a movie that makes the pie-loving of “American Pie” look embarrassingly infantile and “Blue Is the Warmest Color” seem suitable for family consumption, “Wetlands” is a riot of sounds and sights that run the gamut between dreamy and nightmarish. But for all its gross-out humor, “Wetlands” also packs an emotional punch, all of it hinging on Juri’s wild-eyed work as the wholly unique Helen, on the cusp of the rest of her life (and super-horny for it).
Marielle Heller’s 2015 Sundance hit “The Diary of a Teenage Girl” is not your average coming-of-age story. Based on Phoebe Gloeckner’s graphic novel 2002 “The Diary of a Teenage Girl: An Account in Words and Pictures,” the film bravely and brazenly turns its taboo subject matter — the sexual awakening of a teenage girl — into a funny, smart, and honest story that entertains as much as it educates. Bel Powley stars as Minnie Goetze, a precocious 15-year-old muddling her way through the swinging scene of seventies-era San Francisco. Like many girls her age, Minnie is struggling to find her place in the world, a journey made all the more difficult by her seemingly unstoppable hormones. As Minnie taps into her burgeoning sexual desires, her life takes a turn — straight into the arms of Monroe (Alexander Skarsgard), her mother’s boyfriend. Heller deftly navigates questions of consent and issues of age, and Minnie makes it clear that she’s making her own decisions, even if they’re probably bad ones.
James Ponsoldt’s 2013 adaptation of the Tim Tharp novel of the same name (beautifully written for the screen by Scott Neustadter and Michael H. Weber) has often been hailed for its sensitive depiction of addiction and its fresh spin on the classic teen romance, but it also takes on sexual awakening in a moving way. Inexperienced Aimee (Shailene Woodley) is seemingly no match for the confident Sutter (Miles Teller), but when the pair fall into a hazy relationship, she bravely embraces the possibility that they could have something real. Inevitably, that includes Aimee losing her virginity to Sutter, in an achingly real sequence that sees Woodley assuming control and guiding the pair into one of the most relatable and emotional love scenes in recent memory. That it also handily deals with issues of consent and doesn’t try to be salacious just for the hell of it makes it even better, and further illustrates the different ways in which both Aimee and Sutter are coming into themselves, with sexuality as just one face of that maturation.
Tucked inside Julia Ducournau’s midnight movie, a visceral, challenging, and often jaw-dropping genre feature about cannibalism, is a tasty treat of a coming-of-age tale. The film follows a young student (Garance Marillier) who discovers some uncomfortable truths about herself (and the world) when she heads off to vet school (kind of the perfect setting for a body horror film), most of them centered on her evolving relationship with meat. All kinds of meat . Initially restrained and severely buttoned up, Marillier’s Justine eventually takes a bite out of her burgeoning desires when a weirdo school tradition activates her hunger in a myriad of ways. Ostensibly a horror movie with bite, Justine’s journey from vegetarian to meat-lover also mirrors her descent into the desire for other kinds of flesh. A parable and a straightforward chiller in one bloody package.
Love all these films but wish mine made the list too -“Toe to Toe”, premiered at Sundance 2009, distributed by Strand.
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Home TV 13 of the most scandalous teen moments in film and TV history
Before HBO's 'Euphoria' flooded TV screens with teenage nudity and drug use, America has long been scandalized by certain film and TV projects depicting youngsters misbehaving. Here are some shocking moments that stand out.
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Not too shocking that a film in which two fed-up teens go on a popular kid killing spree did not go over well with audiences at first. What is surprising is this pitch-black comedy has become one of the definitive teen movies of the '80s. Its scandalous nature lives on, however, as planned TV incarnations have been delayed out of respect for multiple mass shootings that occurred around each time it planned to air.
This Fox drama was the first of its kind, creating the blueprint for the modern primetime teen soap. While it went on to have many storylines dealing with then-taboo topics like the AIDS crisis, the first moment that had parents up in arms was when Brenda (Shannen Doherty) lost her virginity toward the end of the first season— a moment that happened offscreen, and has now become one of the tropes of any teen TV show.
Kids is just about as dark as teen movies can get, using mostly underaged, first-time actors to stage scenes that involved graphic depictions of sex and drug use. Even without showing any nudity, the film still managed to get an NC-17 rating upon release.
While Buffy never strayed away from controversial topics, especially when it came to LGBTQ themes, it never caused as much of a stir as when its third season episode "Earshot" was shelved in response to the 1999 Columbine school shooting. The episode involves Buffy suspecting Jonathan (Danny Strong) plans to shoot students from the school's watchtower, but learns he was actually planning on shooting himself.
With a reference to masturbation in the pilot, Dawson's Creek came out the gate as one of the edgiest teen shows that had been on the air at that point. Still, the historical moment that caused controversy both inside and outside the writer's room was the decision to air the first romantic kiss between men on network television in the season 3 finale "True Love."
This film, co-written by its director Catherine Hardwicke and star Nikki Reed, startled some viewers with its frank depiction of self-mutilation, drug use, and sexual activity among teens. When asked by EW in 2003 if young girls should be allowed to see the movie, Reed said, "If girls are going through it, they should at least be able to watch it."
Degrassi is known for having covered just about every teen issue under the sun, but the one subject that initially got the episode "Accidents Will Happen" banned from airing was Manny (Cassie Steele) getting an abortion. After two years, it was eventually allowed to air in the US.
There had been lesbian kisses on television before Marissa and Alex (Mischa Barton and Olivia Wilde) finally kissed in the season 2 episode "The Lonely Hearts Club," but none quite as passionate or pivotal to a teen show. While the storyline launched Olivia Wilde's fame, it also put her into the history of stunt-casted lesbian and bisexual characters.
Skins is another project where every iteration has managed to offend someone. The show, which freely included teen sex and drug use, caused a scandal by airing unedited on BBC America, and almost caused a child pornography case when the Parents Television Council encouraged an investigation before it even launched.
Continuing the CW's rich history of making parents worry about the teen shows their kids are watching, the network advertised the second half of the first season with shots of their teenage characters having sex. The posters, emblazoned with "OMFG," were eventually replaced by posters advertising season 2 with quotes about how scandalous the show is.
A show that started as a satire in line with Heathers had calmed down a bit by the third season, but when it showed Kurt lose his virginity to Blaine (Chris Colfer and Darren Criss, respectively), it both broke barriers and ruffled quite a few feathers.
This Netflix series about a teen girl explaining why she ended her own life depicted graphic scenes of rape and suicide to the point where the network had to add more trigger warnings after the show's premiere.
Before it even aired, the opening of the new HBO show's second episode, in which around thirty penises appear onscreen, was used as an indication of just how risqué the show planned on being, much to the chagrin of parents everywhere.
https://www.indiewire.com/2017/08/indie-movies-about-teen-sexuality-1201867597/
https://ew.com/tv/13-scandalous-teen-moments-film-tv/
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