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Blank Check (1994) Official Trailer – Brian Bonsall Movie HD
The Godfather (1972) Trailer #1 | Movieclips Classic Trailers
Pretty Baby (3/8) Movie CLIP – Bidding on Violet (1978) HD
Cuties | Official Trailer | Netflix
Manhattan (1979) Official Trailer – Woody Allen, Diane Keaton Movie HD
Kids (1995) Official Trailer #1 – Larry Clark Drama HD


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Jamie founded Listverse due to an insatiable desire to share fascinating, obscure, and bizarre facts. He has been a guest speaker on numerous national radio and television stations and is a five time published author.
One of the most precious things that exists in this world is childhood innocence. Unfortunately, the film industry has a disturbing history of having children perform sexually explicit actions on film, largely for the entertainment of adults. While attracting rightful condemnation from many, there is not enough being done to protect children working in the entertainment industry from being exposed to and participating in things that children should not be a part of.
This is a particularly timely list as the mainstream media has recently begun drawing attention to QAnon when a reporter recently asked the president what he thought about “his” suggestion that Mr Trump is working to end a deeply entrenched child sex trafficking cabal in the deep state with Hollywood complicity. Additionally, Netflix recently released a show Cuties which has horrified many with its extreme pro child sexuality content.
These are 10 films featuring children performing explicit actions on screen . . . disturbingly this is just the tip of the iceberg .
Seth Rogan’s 2019 comedy film Good Boys pushed all the remaining boundaries of late night comedies. The film features 3 13 year old boys, played by real 13 year old actors, who are preparing for their first Kissing Party and have several misadventures along the way. The boys activities in the film included them cursing, peeping on their neighbors and underage drinking. In addition there were several scenes featuring the underaged actors using sex toys , both properly and improperly. One scene featured 13 year old Jacob Trembly kissing a sex doll which was implied as being used by one of his friends parents. Another featured all 3 of the boys viewing a pornographic video. In spite of all of this, there was little mainstream controversy surrounding the film and it was released to the public without incident, grossing 110.6 million at the box office. [1]
Disney movies are meant to be child friendly and family friendly films. Given that they are mostly watched by children, Disney movies are often held to a higher standard in terms of what is on screen. That is not always the case however and several Disney films have been at the center of controversy, one such is the movie Blank Check. In 1994’s Blank Check, the 11 year old Preston was seen to be in a one sided relationship with a 32 year old actress featuring dates, romantic gifts, and culminating in a kiss on the lips at the end of the movie. It created controversy at the time but was quickly forgotten and Disney was forgiven. This scene came back to haunt Disney in 2019 when the film was rereleased on Disney’s new streaming service Disney Plus. Many people were shocked and appalled that Disney chose to keep the scene in the movie, however the protests fell on deaf ears and the scene remains on Disney Plus. [2]
Much like Blank Check, Interview with a Vampire features a kiss between an underage actor and an adult actor. The main difference is between the genders of the actors, with the female Kristin Dunst kissing the male Brad Pitt . There was a 19 year age difference between Pitt and Durst at the time. Since the film’s release, both Pitt and Durnst have spoken about the scene saying how they both felt disgusted by what they had to do and regret their roles. Although Durnst feels uncomfortable with the kiss she shared with Pitt, she still speaks highly of Brad Pitt and his behavior on set, saying that he was like an older brother to her. [3]
Francais Ford Coppola’s 1972 film The Godfather is considered by many to be one of the greatest films of all time. The film tells the story of World War Two veteran Micheal Corleone, the son of feared Mafia Don Vito Corleone, reluctantly taking over his father’s criminal empire during a time of conflict within New York’s organised crime families. In addition to controversy from Italian Civil Rights groups and real organized crime organizations in regards to the depictions of Italian Americans, one particular scene crossed the line. In the film, when Micheal is forced to flee to Italy after killing a rival monster as well as a New York City police captain, he meets a young Italian woman named Apollina, who he soon marries. In the scene where Micheal and Apollonia consummate their marriage, the then 16 year old Simonetta Stefanelli removed her top showing her bare chest and began a sexually suggestive scene with the then 30 year old Al Pacino. Despite this, The Godfather’s legacy as a cinematic masterpiece remains. [4]
A movie telling the story of an underage prostitute featuring an underage actress will always create controversy, with outrage likely following quickly. As a result such movies are rarely made, especially ones featuring real underage actresses. But in 1978 a movie like that was released, starring 12 year old Brooke Shields. There were countless controversial scenes in the film, such as 12 year old Shields completely naked, Shields virginity being auctioned off and Shields being drugged and sexually abused. These scenes led to the film being banned in the Canadian provinces of Ontario and Saskatchawan, in a ban that lasted until 1995. Now, the film is considered a classic by some, but a sick use of cinema by others. Shields, who was the focal point of this controversy says that she regrets nothing and is proud of the film. [5]
Jodie Foster’s role in Taxi Driver has always been marked with criticism. Given her young age at the time, coupled with the fact she had to flirt with 33 year old Robert DeNiro and witness the film’s violent climax when 3 men are gunned down in a bloody gun battle. These scenes were so gruesome that Foster had to undergo several psychological evaluations in order to perform in these scenes, further stoking controversy. Finally, 4 years after the release of the film a man named John Hinckley shot President Ronald Reagan in order to get Foster’s attention. Today, Taxi Driver is known for being the film that put director Martin Scorsese on the map, as well as being one of Robert DeNiro’s most memorable roles. [6]
Based on the controversial 1955 book, Lolita is a movie detailing the illicit relationship between a 12 year old girl and her middle aged stepfather. Unlike the original 1962 movie which had a more lighthearted and comedic tone to it, the 1997 remake of the film did not shy away from the more controversial themes of the original novel. In the film, Lolita was played by 17 year old Dominique Swain while Humbert Humbert was played by 49 year old Jeremy Irons, who later stoked controversy for saying that parental affection had a sexual aspect. In the film, Irons and Swain engaged in all of the hallmarks of a traditional relationship such as hugging, kissing, as well as illusions of sexual contact between the pair. [7]
The description of this movie says it all. “Amy, 11 years old, tries to escape family dysfunction by joining a free-spirited dance clique named Cuties, as they become aware of their own femininity through dance.” This, combined with images of scantily clad young girls sparked a fierce social media backlash with many demanding Netflix remove the film with some even going so far as to cancel their Netflix accounts altogether. Netflix further stoked controversy when their executives refused to condemn pedophelia and insisted that the controversy surrounding the film was wrong. Nonetheless, Netflix eventually bowed to public pressure and removed the posters featuring scantily clad young girls and changed the film’s description. That however does not change the fact that the film contains scenes of scantily clad 11 year old girls performing sexually provocative dances and is set to release to the public very soon. [8]
Noted Hollywood figure Woody Allen’s personal life has been the source of controversy over the course of many years. The source of this controversy stems from his relationship with his step-daughter Soon Yi , whom he had raised since she was 11 years old. It has been alleged that the relationship started before Soon Yi was 18, but that has never been proven. Given this controversy, his 1979 film Manhattan has been analysed under a new light. This film, which tells the story of a 42 year old writer, played by Allen, dating a 17 year old high school student, played by 17 year old Mariel Hemingway. Given the disturbing nature of Allen’s later relationship , many have said that the film represents a pedophelic fantasy of Allen’s, as opposed to the work of cinematic art it was once hailed as. Nonetheless, the film still details an inappropriate adult/child relationship in a normalised context. [9]
The 1995 film Kids centers around several teenagers in New York City in the mid 1990s . At the time of the film’s release it was rated NC-17 due to scenes of underage drug abuse, underage nudity, and a plotline centering around an HIV positive rapist who went around infecting young virgins. It also attracted anger from the general public for these themes and sparked a heated debate about artistic expression. Despite this, it was released unedited. A film so controversial could only be made by one man. The infamous former Hollywood producer and convicted rapist Harvey Weinstein , who is now serving a 23 year sentence for his crimes. Although most of the main cast members were over the age of 18 at the time of filming, several such as Leo Fitzpatrick and Rosario Dawson were still underage at the time of filming, and performed explicit actions as such. [10]
About the author: After using many pseudonyms to write twelve lists for Listverse, I have now decided to publish under my own name.

Watch and discover Features and reviews Lists From girlhood to adulthood: 6 French films about sexual awakening < Lists
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With our Teenage Kicks season celebrating movies about the joys and pains of adolescence, let’s talk about sexual awakening on screen... French-style.
As part of BFI ’s Teenage Kicks season, we teamed up with I am Dora to present a special screening of Maurice Pialat’s À nos amours (To Our Loves) on Sunday 10 August. After the screening, we held a salon in the Teenage Kicks teen bedroom installation at BFI Southbank and discussed the idea of the young femme fatale in French cinema as a construct of male directors’ fantasies, and how these depictions affect the female viewer’s sense of self.
Pialat’s film centres on 15-year-old Suzanne (a stunning performance by a very young Sandrine Bonnaire ) who – on a mission to escape her overbearing father, histrionic mother and brutish brother – embarks on a rampage of sexual adventure, working her way through partners with apparent cool abandon. As Suzanne’s transformation unfolds, audiences and those closest to her are left wondering what it is that she seeks: affection, freedom, pleasure, or a man just like her father? Maurice Pialat (who himself plays in the film as Suzanne’s father) directs a fresh-faced and inscrutable Bonnaire to give us few easy answers; here is a girl who seems to have the power of youth and beauty, but never quite finds what she’s looking for.
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In her essay to mark the Criterion DVD release of the film in 2005, critic Molly Haskell posits À nos amours as settling comfortably into a collection of iconic films exploring “the teenage girl on the cusp of sexual awakening”:
Part child, part femme fatale, innocent and dangerous in equal proportions, these schoolgirl seductresses, born to blossom under the eye of the camera, have exerted a fatal fascination for Pygmalion auteurs who seek to capture and unveil this drama of unfolding. But over the years, as one transfixing newcomer after another, barely out of braces and backpacks, embarks on the vita sexualis, we have to wonder, whose sexuality is it, exactly? Is this the way they see themselves, are these their yearnings, or is this precocious sensuality a projection of the guilty desires and fears of directors old enough to be their fathers?
To mark the occasion we’ve put together a list of six French films that play with and subtly subvert this idea of female ‘sexual awakening’ in cinema, from girlhood to adulthood.
Carl Theodor Dreyer ’s silent masterpiece focuses not on the unsteady steps into womanhood, but on the last moments of our 19-year-old heroine’s brief life. Here is a girl who eschews the pressures of gender conformity, refusing to wear women’s clothes and vowing her faith and obedience to no earthly man – only to God – and is punished severely.
While the film’s focus is firmly on Joan’s trial and persecution, critic Pauline Kael saw something else in Dreyer’s austere direction that combined stark close-ups and rapid editing to build the atmosphere of fervent oppression that leads to Joan’s torture and eventual death. For her, there was a subtle double meaning in the ‘passion’ of the title, referring both to its spiritual and subversively erotic dimension: “In [his] enlargement Joan and her persecutors are shockingly fleshly – isolated with their sweat, warts, spittle, and tears, and (as no one used makeup) with startlingly individual contours, features, and skin. No other film has so subtly linked eroticism with religious persecution.”
Séverine ( Catherine Deneuve ) is a 23-year-old woman languishing in the boredom of her bourgeois marriage. Having never been allowed to indulge in any sort of sexual experimentation in her youth, she has instead followed convention and married a handsome doctor who keeps her dripping in Yves Saint Laurent but cannot pique her sexual interest. Being unable to have a healthy sexual relationship within her marriage, she indulges in perverse fantasies of rape and sexual domination, eventually attempting to realise them by becoming a madame at a high-class brothel.
Luis Buñuel ’s exploration of Séverine’s sexuality is played out with characteristic surrealist flourish, and her true motivations remain always obscured. Critic Melissa Anderson has observed that, for Deneuve, this ultimate mystery became a calling card and the basis of the rest of her filmic output: “ Belle de Jour , more than any other film from the first decade of her career, defined what would become one of the actress’s most notorious personae: the exquisite blank slate lost in her own masochistic fantasies and onto whom all sorts of perversions could be projected.”
In Chantal Akerman ’s magnificent exploration of one woman’s need to contain her emotions in a fortress of control, she gives us a female protagonist who is a single mother, devoted housewife and afternoon prostitute. Steadfastly refusing to reduce Jeanne to an object that is the product of a seedy profession, Akerman lingers not on her afternoon visits with her male clients but instead gives meticulous detail to the time it takes for the dressing, the cooking and the cleaning that make up Jeanne’s day.
Akerman’s direction is almost reverent in its distanced respect for her heroine; she chose not to use close-ups or point-of-view shots, stating that she refused to cut “this woman in pieces”. Over three days (three hours and 21 minutes for the viewer), things start to unravel: a button is lost, the potatoes are over cooked and the coffee doesn’t taste right. As each small disaster disturbs the delicate equilibrium of 23, quai du Commerce, the film’s structure changes and the viewer is led for the first time into an encounter with a paying client during which Jeanne unexpectedly experiences an orgasm. In Jeanne’s world though, this sexual ‘awakening’ is not proof of a long dormant longing, but an unwelcome intrusion that induces a coolly murderous impulse.
In what could be a scene out of any teen movie, Catherine Breillat’s À ma sœur ! begins with two girls walking arm-in-arm talking about losing their virginity, but it soon becomes apparent that this is no American Pie . The girls could not be more different. Elena is the very epitome of youth and French beauty; her young, slim body is a site of reverence and she longs for the chase of romantic love. Anais’s body is a fortress, overweight and unkempt, and she has no such fantasies about this rite of passage. “My first time should be with nobody,” she says, “Guys are sick”.
Directing her film more like a horror than a coming-of-age drama, Breillat concerns herself with the violent and often humiliating reality of a girl’s loss of virginity. Employing real-time direction (the first scene in which Elena’s holiday love interest convinces her to have sex is 25 minutes long), she dethrones the idea that sexual awakening as a teenager is any sort of liberation. As the fallout from Elena’s loss of virginity plays out within their family, the film’s ferocious climax reveals Breillat’s preoccupation with the idea that any the ‘shame’ associated with a young woman’s sexual activity is not inherent in the act itself, but a result of the constructed lie of romantic love.
Michael Haneke’s Erika, the protagonist of The Piano Teacher , is hardly a girl on the cusp of womanhood. Instead she is a woman who has masochistically resisted the painful transition from girlhood. In her 40s, Erika ( Isabelle Huppert ) lives at home with her domineering mother, a relationship marked with dysfunctional co-dependence and embattled suffocation. From the outside she is a picture of bourgeois respectability, a well-paid and well-respected classical music teacher, whose every movement demonstrates precision and discipline. In private, Erika indulges in seedy voyeurism, visiting pornographic bookshops, spying on people having sex at drive-ins and then indulging in masochistic self-harm.
But this is not a tale of a kinky schoolteacher. Setting his film in Vienna, the birthplace of Freud, Haneke is as much interested in our fascination with Erika’s sexual deviations as he is in the deviations themselves. As Erika’s pursuit of control through sexual domination gains momentum, Haneke’s orchestration of his grim denouement leaves no one left unscathed.
Céline Sciamma ’s first two films ( Water Lilies , 2007; Tomboy , 2011) explored the myriad effects that societal conventions have on delicately forming female identities. In her third film, which opened the Director’s Fortnight at Cannes this year, 16-year-old Marieme (Karidja Touré) must navigate not only the disruptive onset of womanhood, but also the inequalities, prejudices and disadvantages of being black and living in the underprivileged ‘banlieues’ of north-western Paris. Marieme lives in a man’s world, with an abusive brother governing her unhappy home life. Her developing sexual autonomy is compromised by this patriarchal hold, as her love interest, Ishmael, initially rebuffs her advances for fear of reprisal from her brother. Taking refuge in a girl gang transforms Marieme, and her new group identity helps her to express a kind of bad girl sexuality that empowers her to consummate and then dominate her eventual relationship with Ishamel.
Dividing her film into four clearly marked sections in which Marieme changes her physical appearance to suit the different worlds (school, street, home) she must navigate, S
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