Teenage Nude Movies

Teenage Nude Movies

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Youth is a pivotal point in one’s life. It’s when we start making our own decisions about ourselves and emerge into adulthood. As puberty takes over, our bodies mature, and our interest in sex begins to dominate. First sexual experiences usually occur, and with these experiences, a journey of self discovery.
The films in this list explore the diverse thoughts, feelings, complications, and awkwardness that accompany first sexual experiences in youth. Some of these films are controversial in their explorations and depict issues such as obsession, incest, and rape. Unfortunately, not all first times are enjoyable or romantic.
Regardless of the controversial aspects, these films share a certain truth behind first sexual encounters during youth, including themes of blossoming into adulthood, and realizing that sex is nothing to fool around with.
1. Summer with Monika (1953, Ingmar Bergman)
This early Bergman film depicts the tragic story of two teenage, starry-eyed lovers and their passionate, yet tormented relationship. Sensual and passionate, the film was controversal because of the nudity and bold depiction of youthful sexuality.
Nineteen-year-old Harry (Lars Ekborg) and seventeen-year-old Monika (Harriet Andersson) both work in stockrooms and meet one spring day in the local cafeteria. Enamored with one another, they start dating and expressing themselves physically. Monika comes from a poor, troubled family and frustrated with her drunken father, leaves home and rushes to Harry.
The two romantics decide to run away together. Harry steals his father’s boat and they leave their mundane city lives and responsibilities to spend the summer on a nearby island.
Their erotic summer is short-lived, however, once Monika realizes she’s pregnant and the two lovers struggle to sustain their lifestyle away from civilization. What starts as a fanciful summer of pleasure and adventure, erodes into a cold autumn in which the two must face up to reality and deal with the consequences of their actions.
2. Crazed Fruit (1956, Kō Nakahira)
This Japanese New Wave film explores one teenager’s first experiences with love and sex in the midst of pressure from his older brother and his raunchy friends. The story details the complications that arise when the boy’s brother falls for the same young woman.
Two teenage brothers, Haruji (Masahiko Tsugawa) and Natsuhisa (Yûjirô Ishihara), are on their way to their parents’ vacation home in a lovely Japanese beach town. As they reach the train station, Haru passes by a beautiful young woman, Eri (Mie Kitahara), and is immediately struck. He meets Eri again while sailing near the beach with his brother.
Again, his heart skips a beat. Haru discovers Eri lives nearby and begins to see her regularly. Haru becomes devoted to Eri, whose mysterious nature intrigues Natsuhisa. Natsuhisa begins to fall for Eri, pitting brother against brother.
Through the use of younger actors and a modern style, the film creates a realism that captures the essence of youthful desire and blind passion.
Cassavetes’ gritty, modern, improvised film of two brothers and their younger sister captures New York’s jazz night life in the late 50’s, while exploring the issues of romance, sex, and racial relationships.
The African-American siblings– Hugh (Hugh Hurd), Ben (Ben Carruthers), and their 20 year old sister Lelia (Lelia Goldoni)– are all artists and live within the jazz and beatnick scene happening in New York City. Both brothers are jazz musicians: Hugh, a struggling singer who travels around the states with his mannager, and Ben, a trumpet player who goes out most nights with his two pals, on the prowl for women to spend the night with. Lelia is a writer, who hangs around literary circles seeking to meet similar intellectuals.
At one social gathering, Lelia falls for a handsome young buck, Tony (Anthony Ray). She follows him to his flat and loses her virginity to him. Aferwards, she feels lost, having had her romantic expectations shattered by the physcial discomfort and lack of intimacy between the two of them; “I never thought it would be so awful,” are Lelia’s first words following their intercourse. To make matters worse, when Tony meets Hugh, who is considerably darker in skin color than Lelia, he is noticably upset, spoiling his relationship with Lelia.
Cassavetes, the master of filmic improvisation, sheds light not only on the diversity amongst social circles and racial relations, but also on the uncertainties and fragile emotions of youth, particularly on the part of Lelia as well as Ben, who by the end of the film finds himself questioning his bachelor lifestyle.
4. Masculin Féminin (1966, Jean-Luc Godard)
Godard’s New Wave film for the “Coca-Cola generation” surveys sexuality and relationships among a group of young 20-somethings. Shot without a formal script and told in loose chapters, the film is truly an exploration of life in 1960s France amongst the youth.
The film mainly follows Paul (Jean-Pierre Léaud), a young revolutionary, and his love affair with aspiring pop singer Madeleine (Chantal Goya). Using documentary style interviews of the actors, the film discusses issues of love, sex, and politics.
Using a cinéma vérité style, young actors, and realistic dialogue, the film captures an intimate, naturalistic overview of French youth during the political and sexual revolution of the 1960s.
5. The Last Picture Show (1971, Peter Bogdanovich)
Peter Bogdanovich’s first critically acclaimed film, The Last Picture Show illustrates the lives of a group of teenagers coming of age in a small Texas town during the early 1950s.
The film follows teenagers and best friends, Sonny (Timothy Bottoms) and Duane (Jeff Bridges) in their last year of high school in this deteriorating Texas town.
Jacy (Cybill Shepherd), a pretty young debutante is dating Duane, but has her sights set on Bobby Sheen (Gary Brockette) and after a naked swimming party, decides to lose her virginity to Duane in order to win over Bobby, who doesn’t like having sex with virgins. Meanwhile, Sonny begins an affair with Ruth Popper (Cloris Leachman), the morose middle-aged wife of his school’s coach.
The teenagers explore their budding sexuality while learning the nuances of relationships amidst this tiny, decaying town.
6. Murmur of the Heart (1971, Louis Malle)
Louis Malle’s 1971 film (which apparently is a somewhat autobiographical account of his youth) delineates the story of a fourteen year old boy from an upper middle class French family, experiencing sex for the first time under the wing of his older brothers and vivacious Italian mother.
Laurent (Benoît Ferreux) is the youngest of three teenage brothers. He is an obedient youngster, a dedicated student, and loving son to his caring mother, Clara (Lea Massari). His two rowdy brothers like to horseplay around the house as well as entertain young women. They eventually take Laurent to a brothel in order to devirginize him, which launches him on further sexual escapades while he’s at a health spa with his mother.
Malle instills this coming of age story with a tender, light-hearted tone amdist heavy issues that are dealt with in relation to sex, such as molestation and oedipal impulses.
7. U.S. Go Home (1994, Claire Denis)
This hour long film produced as a television movie tells the story of a French teenage girl in the mid-1950s on the mission to lose her virginity. With a dynamite rhythm and blues soundtrack and a realistic storytelling style–not to mention an appearance by the salty Vincent Gallo—the film stylishly portrays the desires and attitudes of youth.
Teenage siblings Martine (Alice Houri) and Alain (Grégoire Colin) live on the outskirts of Paris, near a U.S. Army Base. Desirous of sexual initiation, Martine and her best friend Marlène (Jessica Tharaud) go to a party with Alain in the hopes of getting laid.
Told with a straight-forward, naturalistic style with political undertones, U.S. Go Home captures the basic desires of youth: to experience sex and be treated as an adult.
8. Heavenly Creatures (1994, Peter Jackson)
After Peter Jackson’s “splatter phase” but before his Lord of the Rings trilogy, he directed Heavenly Creatures, a film which chronicles the obsessive relationship between two teenage New Zealand girls. Based on a true story about two young girls who were later convicted for murder, the film allows the viewer to see into the whimsical world the two create for themselves as a means to escape reality.
In a small 1950s New Zealand town, Pauline (Melanie Lynskey) and Juliet (Kate Winslet) meet at school. They become fast friends as they bond over their strong imaginations and shared feelings of isolation. Both being avid readers and writers, they create a minutely detailed fantasy world together. Their passionate bond begins to cause trouble for them as they withdraw into their private utopia under the disapproving eyes of their parents, particularly Pauline’s.
The characters’ sexual bond comes about through their childish fantasies. However, being that the story takes place in the early 1950s, homosexuality is not at all accepted, and Pauline’s parents begin to worry about her attachment to Juliet. The girls therefore take refuge in their dreams together, building an unhealthy intimacy which eventually turns destructive.

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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