Example

Strange Days (1995)

Welcome to the Dollhouse (1995)

Todd Solondz's painfully-realistic, uncompromising rites-of-passage black comedy - his first major independent film success, was about bespectacled, geeky 11 year-old outcast Dawn Weiner (Heather Matarazzo) in a middle-class New Jersey family; without scenes of sex, nudity, or violence (although there are some vulgarities), the film followed her cruel, miserable, and isolated progress through puberty, when called "lesbo," "weiner dog," and "dog-face" by her junior-high classmates and shunned in the cafeteria; she was told that she was "ugly" - the main reason for her tauntings; in one scene, she developed an obvious crush on her brother's garage band-mate Steve Rodgers (Eric Mabius); in another, violence-prone and jealous Lolita (Victoria Davis) forced Dawn in the toilet to relieve her bowels, to exercise power over her; and in a potential rape scene, Heather was menacingly told by crass 7th grade bully Brandon (Brendan Sexton, Jr.) at her locker that he was going to rape her at 3 pm, but then didn't follow through (because he didn't actually know what rape was and only wanted to awkwardly express his interest in her) - although she was willing to let him kiss her and submit in order to be accepted

When Night is Falling (1995, Can.)

Wild Side (1995)

Angels & Insects (1996, US/UK)

Director/co-scripter Philip Haas' controversial film, an adaptation of A. S. Byatt's novella titled Morpho Eugenia, was set in Victorian England with its tale of an entomologist named William Adamson (Mark Rylance) who had returned from the Amazon to reside with his high-class benefactor - a gentrified country minister named Sir Harald Alabaster (Jeremy Kemp) and his large family of seven girls and one son; the story's revelation by the conclusion involved the dark, hidden, and shocking secret of incest between Alabaster's lovely, other-worldly, and enigmatic eldest daughter Eugenia (Patsy Kensit) and her wastrel, spoiled brother Edgar Alabaster (Douglas Henshall); the film was the first to be slapped with an NC-17 rating (later released unrated or R) for one brief scene of male genital nudity (with a semi-erection) when actor Henshall left the bed of a woman and got dressed with his penis remaining semi-stiff

Bound (1996)

The Wachowski brothers' debut film was this clever thriller and stylishly sexy neo-noir film; it starred Gina Gershon as a butch lesbian and ex-con plumber named Corky who experienced a titillating, Sapphic sexual liaison with a breathy Chicago mobster's bisexual girlfriend named Violet (Jennifer Tilly), while renovating the next-door apartment - they both plotted to abscond $2 million from Violet's boyfriend Caesar (Joe Pantoliano) while engaging in steamy girl-on-girl scenes; in a sofa seduction scene with her bulging cleavage showing, black lingerie-wearing Violet asked: "Do I make you nervous, Corky?" and then admitted boldly: "I'm trying to seduce you" as she had Corky touch the tattoo on her breast; she then moistened Corky's finger with her mouth and placed it tantalizingly between her legs, as she confessed and proved her true feelings: "You can't believe what you'd see, but you can believe what you feel. I've been thinking about you all day" - and then begged for a kiss ("Please, kiss me") - with their mouths close to each other in full-closeup; their first fully-nude, explicit consummation of love-making scene in Corky's dimly-lit apartment room was intimately filmed for a mainstream film with two female leads playing lesbians - the camera slowly circled around the bed and viewed their breasts touching as they were engaged together - Violet brought Corky to an orgasm with her hand

Breaking the Waves (1996, UK)

In Lars Von Trier's melodrama, manly oil-rig worker Jan Nyman (Stellan Skarsgard) married sweet-faced, kind-hearted, pious and virginal Scottish wife Bess McNeill (Emily Watson) - they experienced sex for the first time in the missionary position against a restroom wall during their post-marital wedding reception; her newly-wed husband became a paraplegic after a freak accident - she prayed for his quick return (after their honeymoon) to the Scottish coastal village in the early 1970s, and felt guilty and self-blaming - even more so when the paralyzed Jan pleaded with her that the only thing that would give him the will to live would be if she took lovers and then described the sex to him; she slept with other men (including her first adulterous seduction experience with Dr. Richardson (Adrian Rawlins) in which she laid nude on a bed in front of him and pleasantly entreated: "You can touch me now. You can have me now," although he turned away from her) as a way to establish spiritual contact with her husband, as she explained: "I don't make love with them. I make love with Jan. And I save him from dying"; her tragic rape/murder in a sacrificial, self-destructive martyr's death aboard a Russian freighter - where even prostitutes wouldn't go - ended the film; Bess was refused a proper burial as a transgressive cast-out from the community, so a miraculously-healed Jan stole her body's coffin in order to bury her at sea - as a giant pair of heavenly bells mercifully rang over the ocean and the oil rig in the film's cosmic ending, signifying that her soul was entering heaven

The Celluloid Closet (1996)

Crash (1996)

David Cronenberg's coldly-erotic drama was deliberately controversial and repulsive with slightly depraved, raw scenes exploring fetishism and a unique form of perversion and deviance; it involved individuals who had survived gruesome automobile crashes and felt compelled to rewatch and also re-enact the auto accidents (often by recreating the noteworthy car accidents of famous sex symbols, such as James Dean or Jayne Mansfield); in the film's exploration of obsession with crashes, TV commercial producer/director James Ballard (James Spader) - after a near-fatal head-on car accident, engaged in an extramarital affair with the other survivor victim Dr. Helen Remington (Holly Hunter) - they were turned on by having sex in a car as a way to re-establish the 'eroticism' of the crash; a sexual cult of car crash enthusiasts or victims would arouse themselves by watching crash-test videos that functioned as pornography; one member was physically-deformed impact victim Gabrielle (Rosanna Arquette), who made love to Ballard while braced or harnessed with a full-body support suit of black plastic and stainless steel - she offered him her vulva-like gash/scar on the back of one of her thighs after he ripped off her black fish-net stockings; she fondled her breast as he kissed her leg and then made love to it; Ballard's icy-blonde wife Catherine (Deborah Kara Unger) also enjoyed sex while in contact with cold-steel (she was taken from behind by her flight instructor as her naked breast pressed into a steel airplane wing); in the film's startling conclusion, James deliberately rear-ended his wife's vehicle - when she was thrown from the car onto the ground next to the wreck, he made love to her, after learning that she was all right (and promised her a more deadly crash the next time): "Maybe the next time, darling. Maybe the next time"; this film was vilified in much the same way as Michael Powell's Peeping Tom (1960) was, and the Cannes Film Festival screening had people walking out in disgust, nausea and revulsion

The English Patient (1996, US/UK)

Director/writer Anthony Minghella's film was the winner of nine Academy Awards (including Best Picture) - it was a great romantic war drama about star-crossed lovers in a turbulent, illicit extra-marital love affair in the North African desert pre WWII: the story told (in flashback) about how 'English patient' Count Laszlo Almasy (Ralph Fiennes) became involved with married and luminous Katherine Clifton (Kristin Scott Thomas), the wife of fellow cartographer Geoffrey Clifton (Colin Firth); it included various love scenes between them, such as their intimate and erotic bath scene together (she shampooed his hair before joining him) and a love-making sequence; it was also noted for the heartfelt request given in the cave after an airplane crash: "Promise me you'll come back for me"; the film also featured a love affair between the English patient's Canadian nurse Hana (Juliette Binoche) and a Sikh bomb expert named Kip (Naveen Andrews)

Foxfire (1996)

From Dusk Till Dawn (1996)

Hotline: The Brunch Club (1996) - TV

Jerry Maguire (1996)

Jude (1996, UK)

Kama Sutra: A Tale of Love (1996, India/UK)

Kingpin (1996)

In this Farrelly Brothers ribald, gross-out comedy, down-and-out, middle-aged ex-bowling star Roy Munson (Woody Harrelson) was so broke that he was forced to have sex with his landlady (Lin Shaye) to pay the rent; after the scene of sex (implied), he was seen kneeling and puking into the toilet, and the decrepit old woman was smoking in bed and telling him: "Oh stop it! It wasn't that bad. Oh, my little Roy toy. What is it about good sex that makes me have to crap? I guess it's all that pumpin'. Pump and dump! (Roy puked) You really jarred something loose, tiger. (In a pose that resembled The Graduate (1967), she pulled her socks up over skinny, varicose-veined legs) Oh, boy! I've got two bits of advice for you, Munson. Number one, why don't you forget about this bowling business and get yourself a real job. (More puking) Two, you still owe me another month's rent, so if I were you, I would start doing some tongue exercises before Friday" - she made the sign of cunnilingus - her spread fingers in a V shape with her tongue wagging in between

Kissed (1996, Can.)

Lynne Stopkewich's debut film was a controversial and provocative limited-release independent film about the taboo subject of necrophilia; it was originally rated NC-17, but two minutes were cut to make it R-rated for commercial video release; the non-exploitative film was advertised with the tagline: "A Film to Really Die For" and had one of the few depicted instances of actual necrophilia in a film; it starred Molly Parker as the sympathetically-portrayed Sandra Larson - an assistant at the Wallis Funeral Home, where she exercised her obsession with finding spiritual calm and erotic attraction to the dead by kissing corpses; in the film's most talked-about scene, she had sex with the corpse of an accident victim under harsh and glaring flourescent lighting in the embalming room - she circled the table with the corpse, stripped her clothes off, and then moved onto the end of it and straddled the pallid body; by the film's grim ending, her romantically-obsessed student boyfriend Matt (Peter Outerbridge) learned of her love of death, so he hung himself in order to be with her

Soft-Core B-Film Movie Queens of the 90s and Beyond

1 - Shannon Tweed

Soft-Core B-Film Movie Queens of the 90s and Beyond

2 - Kari Wuhrer

Kari Wuhrer originally gained fame as a VJ for MTV's game show, Remote Control. She then put together an extensive career list of B-film credits in dozens of sometimes memorable films and straight-to-video releases, including Beastmaster 2: Through the Portal of Time (1991), Boulevard (1994), The Crossing Guard (1995) (pictured), Hot Blooded (1995), Sensation (1995), Sex and the Other Man (1995), Beyond Desire (1996), Luscious (1996) (pictured), An Occasional Hell (1996) (pictured), Thinner (1996), Kate's Addiction (1999), Lip Service (2000), Poison (2000), Spider's Web (2001), King of the Ants (2003), and Hellraiser: Deader (2004). She was often voted one of the sexiest women in film by various film polls, although she never took a starring role or became a major star.

Others who could have been mentioned in the same context include: Brinke Stevens, Linnea Quigley, Michelle Bauer, Cheryl Rainbeaux Smith, and Candice Rialson.