History of Sex in Cinema:
|Movie Title/Year and Film/Scene Description|
Co-writer/director Agnieszka Wojtowicz-Vosloo's feature film debut was this mystery drama/thriller, actually a sophisticated and elegantly visual horror film of sorts, that was shot in less than a month. Christina Ricci was fearlessly nude through about half of her film role. One of its earliest sequences was a love scene between the two main characters:
The two unhappy individuals were making love - Anna was lying almost comatose and unfulfilled beneath him as he pumped away. While she took a shower afterwards (and experienced a nosebleed), Paul asked the rhetorical question of whether she was happy:
Later following a verbal argument and misunderstanding with him at a restaurant during dinner (when Paul was supposed to propose marriage between them), she frantically drove off in a rainstorm. When distracted using her cell phone, she experienced a deadly crash. She woke up in a red slip on a cold slab in a funeral home, attended to by soft-spoken, calm, solemn psychic mortician/funeral director Eliot Deacon (Liam Neeson). He claimed that she was 'dead' when she asked where she was:
But she thought otherwise: "I'm not dead!" Anna was protesting and pleading: "I can't be dead. Just let me go, please!" The mortician believed she was "in denial" about her mortality ("You're still in denial. You have to trust me. I'm only here to help you"). Deacon began to sew up her forehead wound and prepare her for an open casket to look "beautiful" for her funeral. He kept injecting her with hydronium bromide to relax her muscles and keep her body from experiencing rigor mortis, so he could work on her - and so that she would remain "radiant" and "beautiful."
Later when she protested, "Why are you doing this to me?" Deacon responded: "They're all the same. You all blame me for your death as if it were my fault...The others, they just see you as a dead body on a slab. Only I can see you as you really are." He asked for her height: "I need to know your height, for your coffin."
He claimed that he had a special gift that allowed him to see her and speak to her. (Later in the film, he murmured to himself: "It's not a gift, it's a curse!") He promised that he would assist her in accepting her reality and transitioning from life to the after-life, although she thought she was still breathing:
Questions immediately arose:
Paul hallucinated (in a nightmare) that a naked Anna in his shower ripped out her still-beating heart from a gaping slit down her torso, with blood dripping down her body from the massive wound.
As she laid naked on the morgue table, she asked the mortician:
While final preparations were made to dress Anna before her funeral, she told Deacon how she had tried to change her life for the better, but she had so many regrets:
She finally admitted that she had wanted love since she was a child, but her cold, unloving mother had hurt her, and she learned to pull away and not love anymore ("so I decided not to love anymore") - and therefore pushed Paul's love away. She was relieved that she was dead: "I'm glad I'm dead. I'm glad it's over."
As Anna was being buried alive, she heard the dirt clattering onto the top of her wooden coffin. One last story hint suggested that she might still be alive. She dug her nails into the top of the coffin (and its inner satin lining) - in futility, she desperately tried to scratch and claw her way out ("Let me out!"). To calm his suspicions one last time, a slightly inebriated Paul (during the wake) drove to the cemetery to prove to himself that she was really dead one last time, after being challenged by the mortician. A bright white flash of headlights during his hurried trip signaled that he had also suffered a horrific accident. An ambulance passed by with its siren blaring. At the cemetery, he dug up the coffin, pulled out Anna's corpse, and he hugged her limp rag-doll body as he told her: "I came back for you." He asked about a noise, and Anna explained: "It's just the scissors for your clothes. Eliot just put them on the table."
Suddenly Paul found himself on Deacon's lab table in the funeral home with a bloodied shirt. Eliot was standing over him as his shirt was being cut off. Deacon explained what had really happened:
Paul kept insisting - as he cried out repeatedly in anguish: "I'm not dead!" - the film's final line, as Deacon inserted a long trocar into his abdomen. The screen faded to a searing white and then to black for the ending credits.
American Pie Presents: The Book of Love (2009)
Also known as American Pie 7, this was the 7th film in the long-running 'series' of teen sex-comedy AP films stretching over 10 years - it came directly after American Pie Presents: Beta House (2007), and was the fourth and last of the direct-to-DVD/video releases. As with many of the previous R-rated (or unrated) films, it was soundly denounced as exploitative, crude, and unfunny, with lots of excuses to project breasts (often unnaturally enhanced) at the screen.
Its tale was an overly-familiar re-run of three insecure, virginal teen males in Michigan who sought to exercise their manhood after discovering a 'holy grail' sex bible ("The book of love"):
The book was a mythical guide to sexual success, and although it was badly damaged, they "reconstructed" it with the help of AP long-timer Mr. Levenstein (Eugene Levy). Their quest involved various young females, and they often saw themselves in fantasy situations.
Dana's most memorable 'fantasy' scene involved displaying her breasts (they digitally-ballooned) in front of her encouraging father (who claimed:
Nathan also delivered pleasurable oral sex to Dana who gave him explicit directions, while her eyes were closed:
Gross-outs included sexual indignities broadcast via mobile phone, a peanut-butter sandwich, sex with a CGI-moose, and oral sex with a false-teeth wearing geriatric prostitute.
[Note: The next film, American Reunion (2012), brought together many of the original stars from American Pie (1999) to continue the tale of the teens 13 years later - now struggling with sex at middle-age.]
Dana (Melanie Papalia)
Outrageous Danish director Lars von Trier's controversial, compelling, nihilistic psychological-horror film (with only two characters) portrayed the tortured pain of a grieving, devastated, and unhinged mother.
Although approaching the levels of violent torture-porn (filmed most explicitly with professional porn stars), there was also a perverse beauty in the cinematographic expertise envisioned in the film, shot by Oscar-winning Slumdog Millionaire (2008) cinematographer Anthony Dod Mantle.
The film's minimalist prologue was a gorgeous, silent, black-and-white ultra slow-motion sequence (set to a dreamy Handel operatic aria) of intensely-passionate sex (complete with a close-up, thrusting penetration shot) in the bathroom shower and bedroom between a Pacific Northwest couple:
At the same time, their one year-old toddler son Nic was in an adjoining bedroom. He climbed up on a window sill - transfixed by the sight of falling snow. Tragically, the innocent child toppled from the window and fell to his death on a snowbound street below (as She climaxed).
In chapter one ("Grief"), after a month in a hospital with traditional treatment and medications, She couldn't erase her self-blaming guilt during an abnormally long recovery period. She accused her husband of being "distant" and "indifferent" to whether their child was dead or alive. When she was released, He found some prideful satisfaction functioning as her therapist, clinically, coldly and analytically struggling to help his emotionally-wounded wife to regain her physicality, and conquer her anxieties and fears.
The sex they now experienced was more gloomy, disconnected and despairing. When she mentioned that she would feel most "exposed" and scared in the dark and frightening woods that surrounded their remote woodsy cabin (named "Eden"), he decided that they would go there by train, to face their self-destructive, worst fears. Both soon realized the difficulty in reconciling their vastly different emotional and intellectual approaches to grief.
As an occult researcher, She had spent the previous summer there with her son, writing her "thesis." When she was imagining in her mind her arrival at the cabin in a harsh greenish light, she laid down on the ground as her husband instructed, and was told to "melt into the green." During their hike toward the cabin, She took a nap while He saw a mother deer with a stillborn baby fetus hanging out of its uterus.
In chapter two ("Pain" (Chaos reigns)), after arriving at the cabin, they both saw a baby bird fall from its nest, covered with ants, causing She to sob. She realized that the previous summer, fear had stopped her from writing her study of gynocide (the systematic mass murder of suspected witches during the Middle Ages in the 16th century). They were aggravated by the sound of dying acorns falling onto their roof, a foreboding of death: "Everything that used to be beautiful about Eden was perhaps hideous. Now I could hear what I couldn't hear before - the cry of all the things that are to die." She screamed at him, claiming that he was arrogant and "this (marriage) may not last," but also confusingly told him about her love and "how happy I am that you're here." She expressed her top fear that: "Nature is Satan's Church," but also said that she felt "cured." Another disturbing sight He saw in the woods was a dying, self-disemboweled fox which spoke in a deep voice: "Chaos reigns!"
In chapter three, ("Despair" (Gynocide)), He discovered in their attic her writings on gynocide (increasingly scrawled and illegible) and her display of old drawings of the misogynistic torture of innocent women. Even He was losing his grip on sanity as he attempted to make psychotherapeutic sense of their misfortune, while relentlessly stripping her of all her defenses and leaving her psyche naked. He struggled to identify her worst fear -- he crossed out various possibilities (Nature? Satan? Herself?) as he revised his diagnosis. When He took the role of "Nature" during a psychotherapeutic game, She described how human Nature had caused people to do evil things against women - the subject of her thesis, although she had interpreted it as proof of the evil of women ("If human nature is evil, then that goes as well for the nature of...all the sisters. Women do not control their own bodies. Nature does"). He was repulsed that She embraced the exact opposite of her original study - and that she believed that women were inherently evil. During sex that night, She demanded that He inflict sadistic pain upon her by hitting her ("Hit me so it hurts"), but he refused - she concluded: "Then you don't love me." Naked, She fled outside, laid on the ground under a tree and furiously masturbated herself to quell the pain, before he joined her for intercourse (and obliged her by grabbing and slapping her) - as hands emerged from within the tree's roots (evoking Hieronymus Bosch).
And then, when He discovered and confronted She with suspicious evidence in the autopsy report that she had abusively contributed to the child's slightly bone-deformed feet (by repeatedly placing his footware on the wrong feet), she angrily accused him of leaving her. In the tool shed, she removed his pants, grabbed his penis, and mounted him. As he laid back mid-coitus, she expressed her long-simmering resentment - partially blaming their earlier sex act for their child's death. She grabbed a large block of wood and crushed his erect penis and testicles with it. Then, while He was unconscious from the pain, she masturbated him until he ejaculated blood and semen from his swollen penis onto her shirt and hands. She then drilled a hole through his left ankle that she bolted with a wrench to a mill grindstone, to keep him immobile. With great effort, He crawled into the woods to the shelter of a fox-hole, where he was betrayed by the sound of a cawing crow.
In the final chapter of the film, ("The Three Beggars"), She located him, apologized and dragged him back to the cabin, where he asked: "Did you want to kill me?" She revealed: "Not yet. The three beggars aren't here yet...When the three beggars arrive, someone must die." Calling herself a "scheming woman" that was "false" in many ways (false in legs, thighs, breast, teeth, hair, eyes), She then had a vision of seeing herself witnessing Nic's death. Afterwards, as she begged: "hold me," She performed a graphic, self-abusive genital mutilation (clitoridectomy) by shockingly cutting off her own clitoris, seen in close-up, with a pair of rusty scissors - and then shrieked in pain.
The night sky revealed the constellation of The Three Beggars (Grief=deer, Despair=crow, and Pain=Fox), but He realized: "There's no such constellation." She declared: "None of it is any use" - and when she screamed, she summoned a hailstorm - a supernatural power believed to be possessed by witches. The three woodland creatures in the constellation entered the house.
As he removed the millstone with a wrench, she stabbed him in the back with the scissors. He dispassionately strangled his wife with his bare hands and burned her body on a large open-air pyre.
In the film's black and white epilogue, He hobbled away from the cabin into the woods, ate wild berries next to the three animals, and was surrounded by a horde of clothed, zombie-like women (with blurred faces) climbing the hill around him.
He (Willem Dafoe) and She (Charlotte Gainsbourg)
Broken Embraces (2009, Sp.) (aka Los Abrazos Rotos)
The fourth film combining the talents of director Pedro Almodovar and the beautifully voluptuous actress Penelope Cruz, this brightly-colored, twisting neo-noirish tale was partially told in flashback.
In an early scene before the flashback, aging and blinded filmmaker-screenwriter Mateo Blanco/"Harry Caine" (Lluis Homas) was with a young blonde, blue-eyed model (Kira Miro) in his apartment. She had helped him to cross the road and had just read him the newspaper (he learned about the death of someone from his past - corrupt early-1990s financier-businessman Ernesto Martel). He asked for her measurements (36-26-36) and other aspects of her physical appearance. She obliged by letting him feel her face, kiss her lips, strip off her purple tank top to feel her bare breasts, and then make love on the sofa. Later, he remarked to his concerned female agent and production manager Judit Garcia (Blanca Portillo): "Everything's already happened to me. All that's left is to enjoy life."
Soon after, he described to his curious young assistant and aspiring scriptwriter Diego (Tamar Novas), Judit's son, about how an 'accident' had left him blind many years earlier.
In the story related in flashback about the early 1990s, Penelope Cruz portrayed Magdalena Rivero (or "Lena") - the secretary of rich and corrupt Madrid stockbroker Ernesto Martel (Jose Louis Gomez). When Ernesto found out that she earned money on the side as a call-girl, discreetly named Severine, he desired her services as a client. Forced to pay for her cancer-stricken father's expensive medical care, Lena reluctantly became Ernesto's pampered mistress and began living with him. He became intensely jealous of her activities after the aspiring actress was selected in 1994 to act in a film directed by womanizing Blanco (aka "Harry Caine" - a pseudonym interpreted as the combination of two Orson Welles characters, Harry Lime and Charles Kane, or the Michael Caine/Harry Palmer character in "The Ipcress File").
The film was titled Chicas Y Maletas (aka Girls and Suitcases) and to assure its success, it was financed and produced by Ernesto. Ernesto's gay (effeminate), inhibited son Ernesto Jr. (Ruben Ochandiano), aka Ray X, was hired by his obsessed father during the shoot - to film a documentary of the making of Chicas Y Maletas, and to surreptitiously spy on Lena's secret love of the director, fearing that he would lose her.
Inevitably, Lena became passionately engaged in sexual relations with the director and totally absorbed in the shoots, inflaming Ernesto's jealousy. In one scene after having intercourse with Ernesto, when he had taken Lena away to Ibiza for the weekend, Lena threw up and then remarked to herself that her hair was mussed as she stood naked before a mirror, declaring: "God, I look awful." The aging Ernesto hugged Lena after sex, wanting more: "I wouldn't mind dying after f--king with you for days, weeks, months, years, centuries. I'm crazy about you, you drive me crazy." After the weekend, she told her director how the "bastard" and "monster" Ernesto made non-stop love to her for 48 hours straight, leaving her frazzled. She was compelled to confess her love of the director to Ernesto, and vowed to leave him. Retaliating, he pushed her down a long flight of stairs, temporarily crippling her. She promised to stay with Ernesto until the film was finished, although continued to suffer his abuse.
After the making of the film, Ernesto and Lena broke up, and the film's Madrid premiere was deliberately held without Lena and "Harry" in attendance. As they drove back to Madrid together after sneaking away and spending a month together by the sea, Lena was killed in a car accident, and "Harry" was seriously injured (and blinded).
[Ernesto Jr. was following them and filmed their last kiss before the crash, but was not responsible for the accident.]
Long after the film's release, "Harry" (now blinded and in the present 14 years later in 2008) discovered that his film had been 'destroyed' by the deceitful Ernesto who "chose all the worst takes" - turning the film "into a monster." "Harry" was determined to re-assemble and re-edit the film, with all of the alternate footage (miraculously saved by Judit), telling Judit and Diego in the film's final line:
One of the film's other revelations was that Judit's son Diego was fathered by Mateo, when they had a love affair many years earlier.
An erotic, psychological thriller from director Atom Egoyan was a major reworking of Anne Fontaine's Nathalie... (2003, Fr.), with Emmanuelle Beart as the title character. It also featured Gerard Depardieu and Fanny Ardant as a married couple.
In this more recent film, the two stars were Liam Neeson and Julianne Moore, portraying an upper-class married couple -- gynecologist Catherine and music professor David Stewart.
The erotic charge in the film came when the suspicious, emotionally-distant and untrusting wife Catherine paranoically believed that her preoccupied, flirtatious husband was cheating on her.
She hired a voluptuous blonde escort named Chloe (Amanda Seyfried), after a chance meeting in a hotel washroom, to test his faithfulness:
She ultimately wanted to trap him in an affair. On a regular basis, Chloe would verbally report back to Catherine with lurid accounts of tempting seduction (progressing from simple flirting to sex, literally seen as flashbacks during the narrative).
Catherine and Chloe also met up in a hotel room, where they soon engaged in provocative lesbian love-making after Catherine asked Chloe how her husband liked to be touched ("Does this turn you on?"). Catherine showered and daydreamed about the tales of sexual encounters.
In the film's plot twist, the prostitute was discovered conning Catherine about the nature of her husband's infidelity (her tales were entirely fabricated), and was actually seducing Catherine's talented teenaged pianist son Michael (Max Thieriot).
In the film's final shot, Catherine was seen wearing Chloe's hair-piece.
Crank: High Voltage (2009) (aka Crank 2)
Amy Smart reprised her role in this high-octane action-thriller sequel to Crank (2006) as Eve Lydon, now as a club pole stripper.
Her most notorious scene (sometimes with a body double) was making love (she provided "friction") to indestructible hitman Chev Chelios (Jason Stratham) in the stands of a horse racetrack, and then out on the dirt track during an actual horse-race, to restore his energy as a huge crowd cheered them on - until they were hosed down! Actual views of penetration were pixilated out to avoid an X-rating.
Crossing Over (2009)
This independent ensemble film drama by writer/director Wayne Kramer included interweaving stories, similar to Crash (2005) and Babel (2006). The film was plagued with several re-scheduled release dates and the major editing of sequences due to its overlong, complex nature and too many multi-stranded, non-credible storylines.
Various individuals were struggling to achieve legal immigration status in Los Angeles, California. One of the blackmailed desperate female immigrants was:
After a fender-bender car accident, she had bargained with corrupt Immigration and Customs officer Cole Frankel (Ray Liotta) to provide him with unlimited sex (as his sex slave) for two months. She allowed herself to be taken advantage of, while he aided her by bypassing the bureaucracy and obtaining a US green card for her.
As an agent of the 'system,' he had proposed that they spend the afternoon love-making, rather than having her detained in a San Pedro Immigration Detention Center where "some mamma Latina makes you her bitch for a couple of nights."
After a number of couplings in an LA area hotel with the buxom naturally-endowed beauty, with the young actress often filmed naked to provide a sensationalist edge to the story, Cole separated from his immigration lawyer wife (Ashley Judd) and began to have serious feelings for his victimized client.
However, she didn't reciprocate (she had a musician boyfriend named Gavin (Jim Sturgess) who was passing himself off as a devout Jew in order to stay in the country), and then their devious plan was discovered by the authorities. She was deported, and Cole was jailed.
The Disappearance of Alice Creed (2009)
Quantum of Solace James Bond girl Gemma Arterton was featured in this R-rated, low-budget UK crime drama/thriller film as Alice Creed, a kidnap victim.
The taut, methodical, inventive and gripping film with basically three characters (and two sets) was the feature film debut of writer-director J Blakeson.
After elaborate and calculated preparations were made to a non-descript apartment room to transform it into a prison cell, Creed was seized off the street and brought to the sound-proofed room by two ex-convicts:
There she was stripped, spread-eagled and handcuffed naked to bedposts with a brown hood over her head. They photographed her naked (with a copy of The Sun next to her tattoo), sent the pics to her wealthy, estranged father, and it appeared that it would be a typical ransom (2 million pounds) for hostage film.
At various points, Alice was stripped, held at knife point and forced to urinate in a bucket. During a topless love scene with bisexual Danny, she tricked him and turned the tables.
In the course of the expositional film, it became obvious that she was not chosen randomly, and there were some unexpected multiple plot twists (i.e., Danny and Vic were gay lovers!), changing allegiances, reversals and deceptive double-crosses.
The film's misleading title became more appropriate when the far-from-innocent Alice "disappeared" at the end of the film - with the money - after killing both captors.
Dogtooth (2009, Greek) (aka Kynodontas)
Writer/director Giorgos Lanthimos' bizarre psychological drama was an official selection at the 2009 Cannes Film Festival, and was nominated for Best Foreign Language Film. The unusual yet compelling production included incest, unsimulated sexual touching and explicit intercourse, and full-frontal male and female nudity (including a brief glimpse of a male erection in a video).
It told a pessimistic and cautionary story about a strange, perverse and extreme family experiment, similar to M. Night Shyamalan’s The Village (2004) - without the plot twist. It involved the following characters:
The dysfunctional parents terrorized their children and kept them ignorant of the outside world - to prevent them from having "bad influences." Their isolated country house in Greece was surrounded by a tall fence, and they were never allowed to leave. Home-schooled with misinformation, the children had been confused by being taught different words for things (e.g., sea = a leather armchair with wooden arms, female genitals = a big light, lick your keyboard = cunnilingus, zombie = small yellow flower) and falsehoods (stickers were currency, and women could give birth to dogs). The teens were convinced to believe that the house cats beyond their gates were ferocious meat-eating predators, who had killed the fourth child (a son). They were encouraged to bark like dogs to fend off the attackers. They were also told that their grandfather was crooner Frank Sinatra singing "Fly Me to the Moon."
One night when their children were asleep, the father and mother sat on the couch (she was topless and lying with her head in his lap, while he was bottomless), to watch late-night hard-core porn (a glimpse of fellatio was viewed).
The only individual from the outside with contact on the inside was security guard Christina (Anna Kalaitzidou) from the father's industrial factory. She was hired (for payment) and brought blindfolded to the home to provide sex for the son. In his stark bedroom, they sat naked on the bed facing each other, and she masturbated him as he stared down at his crotch, expressionless. Once he was stimulated, they had intercourse (his preferred sexual behavior), without any sexual pleasure or touching for her. In exchange for a spangled headband, she sought stimulation by having oral sex (cunnilingus) performed on her by the eldest daughter ("Come closer and lick for a while, and the headband is yours").
A simple act of bringing another present set off a disastrous chain-reaction in which exposure to the outside world encouraged corruption: Christina brought hair-gel to the eldest daughter, but instead was forced to give her another gift -- rented commercial videotapes (Jaws (1975) and Rocky (1976)) from her pack. Soon after, she began acting out various scenes from the films (she borrowed more than two tapes, presumably, including Flashdance (1983)). When the father found out, the daughter was graphically beaten with one cassette tape (taped to his hand), and he destroyed Christina's VCR in her apartment. With Christina fired, the paranoid father wanted to replace her with someone he could trust ("Nobody else will enter this house"). He incestuously decided it would be one of the daughters.
After fondling the breasts and buttocks of both sisters in a bathtub with his eyes closed, the son chose the elder daughter. She was later dressed and prepared by the mother for an awkward and painful sexual experience with her brother. Following sex, she threatened: "Do that again, bitch, and I'll rip your guts out. I swear on my daughter's life that you and your clan won't last long in this neighborhood." (loosely quoting from Rocky?).
Then, the daughter began to show problematic signs of agitation, first exhibited in a Flashdance-type dance she performed in front of her family. She also bloodily knocked out her right dogtooth from her mouth (with a hand-weight). [The teens had been promised they could leave the compound if they lost a dogtooth (prominent canine tooth).] She entered the trunk of her father's Mercedes Benz. That same night, the father found the bloody sink and dogtooth, and frantically searched for his daughter. She was unwittingly driven by the father to his factory (place of work) the next morning, still locked in the trunk, as the film abruptly ended.
The Three Children
The Son with Christina
Oral Sex for Christina
The End Image
Friday the 13th (2009)
This 12th film in the series, Friday the 13th (2009) was a re-imagining or rebooting of the original film from 1980, with an abundance of gory killings, gratuitous sex and three very topless females.
After a short prologue about how deformed/retarded young son Jason Voorhees' mother Pamela (Nana Visitor) was beheaded by a camp counselor, and Jason took revenge with a machete, the film's next 20 minutes or so found five teens camping in the woods near the broken-down, abandoned cabins of the notorious Camp Crystal Lake, initially looking for a secret patch of marijuana plants.
As in all the films, the killings by burlap sack-headed (later hockey-masked) homicidal killer Jason (Derek Mears) began after youthful displays of sex or nudity, and general debauchery (drinking, dope-smoking, etc).
Around the campfire, girlfriend Amanda (America Olivo) opened her shirt and pulled down her bra to display her breasts to boyfriend Richie (Ben Feldman) to entice him and get him to pay attention to her, then poured massage oil over them, and threw her bra at him. The couple retired to a tent, where their rear-entry love-making was interrupted by the sound of twigs cracking outside. Both of them soon found themselves victims of Jason Voorhees - Amanda was burned alive above the campfire while tied inside her sleeping bag, and Richie was caught by a bear trap within view of his girlfriend as she died, and later he was macheted to death through the skull.
In the second part of the film, another seven teens and other characters were introduced for another round of killings. In a side-story, dope-smoking, red-neck hick Donnie (Kyle Davis) was killed after he lasciviously viewed a Hustler magazine centerfold and made crude comments ("Let Daddy have a little lick"). While investigating a noise in the barn's attic, he spoke to a naked female mannequin that he had named Gina (he had lost his virginity to her when he was younger):
Suddenly, he was approached from behind, and his neck was sliced by Jason's machete.
In a cabin near Crystal Lake itself where the second group of coeds were partying for the weekend, disobedient couple Nolan (Ryan Hansen) and his blonde girlfriend Chelsea (Willa Ford) took out a boat on the lake for topless wake-boarding. For their irresponsible behaviors, he was shot through the head with an arrow, and she was stabbed in the top of the head while hiding under the wooden dock.
When the menacing threat of Jason loomed in the background, two other coeds were having sex:
She stripped while astride him, as he admired her curvy body: "Oh, wow! Your tits are stupendous..." As they had intercourse, he kept complimenting her: "Your tits are f--king --- just...so juicy, dude...You got perfect nipple placement, baby." She filmed them doing it with a hand-held video camera, projecting them onto a large-screen TV display nearby, while he cautioned: "This better not go on the f--king Internet."
They were listening to Santogold's "Shove It (Featuring Spank Rock)" as they kept thrusting together, and ignored warnings from the others. Shortly later, Bree met her predictable fate, when Jason grabbed her from behind, covered her mouth to muffle her screams, picked her up, and impaled her back-first onto a mounted set of sharp-pointed deer antlers on a bathroom door. Trent was murdered when stabbed him in the middle of his chest with Jason's machete, and then impaled on three-pronged tow-hook poles mounted on the back of a tow-truck.
Chelsea (Willa Ford)
My Bloody Valentine 3-D (2009)
This R-rated US slasher film remake of the 1981 Canadian horror film was noted for its 3-D release. It told the story of a surviving miner named Harry Warden (Richard John Walters) in a cave-in in the town of Harmony, who was discovered to have axed his fellow miners in order to survive.
A year later on the following Valentine's Day, Warden (who awoke from a coma), went on a killing spree before he was shot by the local sheriff Burke (Tom Atkins), but then was killed (or escaped back into the mine?).
Ten years later at a seedy motel after having wild sex with married, bald truck-driver lover Frank (the film's screenwriter Todd Farmer), slutty, high-heeled Irene Sparco (Betsy Rue) confronted him about his secret recording of their love-making, as he confessed: "I make these for my own personal collection." She argued with him: "I am no hooker," although he tossed her a bill and told her: "You are now."
She angrily followed him into the parking lot with a gun and confronted him there ("Frank, you son-of-a-bitch"), demanding the tapes while stark naked. As he was about to get into his truck cab, he told her:
Abruptly interrupted, she witnessed Frank murdered by a pick-axe-wielding, gas-mask wearing individual, after she had memorably faced the camera for an unabashed set of full-frontal (and bare) nude scenes. Terrified, she raced back to the motel's office and into its back room, and was ultimately killed, still naked, by the slasher after hiding from him under a bed and trying to protect herself behind the bed's upended wire-spring frame.
Now & Later (2009)
Left-wing writer Philippe Diaz directed this unrated, steamy erotic drama that pushed cinematic boundaries with its many soft-core sex scenes (with full-nudity sex). Under the credits was a quote from William Reich: "A sexually repressed society will resort to violence." The sex-laden film was unnaturally cerebral and preachy (by the female lead) - mostly left-wing polemics about American imperialism, covert CIA activities and assassinations, the hypocrisy and corruption of the American government, and uptight attitudes toward sex.
As the film began, a passionate encounter would soon occur between its two principals in Los Angeles, involving politics, religion, philosophy - and sex:
Angela offered the seemingly-unintelligent and unengaging Bill her single-room place to stay for the night when his transport driver Luis (Luis Fernandez-Gil) was detained. Bill was en route to Nicaragua where he planned to hide out from authorities. Bill told Angela that he believed in "bad luck." In downtown East LA at her cheap upstairs room above a transient hotel, with a door out to the rooftop, there was a prominent wooden fertility statue. She described her place: "Welcome to my living scrapbook." She added: "I believe in hell on Earth. I see it every day." From her vantage point, she pointed out where all the levels of society lived (poor people, middle class people in condos, and the financial district).
She proposed that he sleep in her bed: "Don't worry, you don't have to have sex with me" - she added. For the first night, he chose to sleep on the floor on a sleeping bag. Later, as they sat on a futon and talked on the rooftop, over Tecate beers and burritos, she began to massage him and suggested that he enjoy it, since he had "nothing to lose." She unbuckled his pants to reveal his erection, then gave him oral sex, after which they continued their conversation. When they went inside later, she sat on her bed, enticing him to join her. When she first came to the US, she explained, she lived with liberated hippies in San Francisco, but then said: "I don't have blond hair or an American body. I'm not even pure Latina. I'm just a mutt." She wasn't sure he would like her if she became naked:
After he stripped, she urged him to kiss her breast, touch her, and then: "Come inside of me," after putting a condom on him, and they had full-frontal and rear-entry intercourse (probably unsimulated). As they laid together afterwards, she talked to him about her political views on repression, hypocritical US attitudes toward violence and sex, and the importance of living in the present moment:
Her personal philosophy was "Drink now, Live now, F--k now." Over the course of the next few days, he and the free-spirited, free-loving Angela participated in numerous, garishly-lit, consensual sexual encounters (eight in total) - her mission was to personally liberate him and provide him with pleasure - in the now. On their last night after they had anal sex on the rooftop, she told him that she believed in free love, and that she was a dreamer: "Free love is the only true love. It's the love that you keep on testing with others, and the love which endures. That is the only form of love - we should liberate the ones who live it rather than limiting their freedom."
Their further graphic activities included viewing Angela rocking and masturbating on a hammock (afterwards, she let him lick her fingers), cunnilingus, an aborted threesome with her male friend Diego (Adrian Quinonez) (Bill declined: "I'm sorry, I can't"), anal sex, and '69' (a deleted scene).
When they finally said goodbye to each other on a sidewalk, she reminded him: "To exist is the only thing that matters. To exist here and now." He responded: "And nothing else." He slowly walked away from her, looking back a few times. Then she turned and walked in the opposite direction from him, as the film ended.
Observe and Report (2009)
This sick and shocking gross-out dark comedy from writer/director Jody Hill told about bipolar mall security guard Ronnie Barnhardt (Seth Rogen) whose main objective was to prove himself vigilante-style.
His goal was to capture a rain-coated flasher who was exhibiting himself to shoppers on the mall's property (witnesses described his flopping penis, and Ronnie had a frequently-shown Polaroid photo of the pervert's genitals).
He also became interested in dumb-blonde makeup counter-girl Brandi (Anna Faris). She became inebriated one night and a victim of date-rape by Ronnie. When he stopped coital thrusting because of concern for her - she emerged from unconsciousness and surprisingly asked (while vomit/droll came out of her mouth and her eyes remained shut):
Brandi (Anna Faris) with Ronnie (Seth Rogen)
Road Trip: Beer Pong (2009)
The sequel to Road Trip (2000) was director Steve Rash's direct-to-DVD/video titled Road Trip: Beer Pong (2009).
The film, dubbed by NPR as "a chauvinistic movie about bimbos, breasts, and the eponymous beer drinking game," caused something of a controversy when it was filmed near Atlanta at the all-girls Agnes Scott College. The uproar came to light when student extras were solicited for a scene in which they were to act as lesbians.
It told about college guy Andy (Preston Jones) who was searching for ex-girlfriend Jenna (Julia Levy-Boeken) - now a beer pong model in a competition called the National Beer Pong Championship.
It was filled with numerous breast-revealing scenes (from unknown actresses including topless strippers providing lapdances, topless bartenders, and pillow-fighting 'beer pong' girls), and raunchy sex talk.
Taking Woodstock (2009)
"3 Days of Love and Peace" (the Woodstock Music and Arts Festival) at Max Yasgur's (Eugene Levy) rural 600-acre dairy farm in Bethel, NY was the Catskills setting for the historically-legendary rock concert in the summer of 1969. The locale of most of director Ang Lee's off-center, bland and unmoving retrospective/biopic film was at the nearby unincorporated hamlet of White Lake, where the run-down El Monaco "Resort" Motel was situated - headquarters for the concert staff.
The backstory centered around the experiences of closeted gay Elliot Teichberg (Demetri Martin) - adapted from Elliot Tiber's 2007 memoir, Taking Woodstock: A True Story of a Riot, a Concert, and a Life and his involvement in arranging for the concert to be held in the area (after the permit for the event was denied at nearby Wallkill, NY) - and the subsequent salvation of his Russian emigrant parents' failing motel.
Most of the R-rated film's display of graphic full-frontal nudity (without sexual connotations) came from an itinerant avant-garde troupe of new-agey, hippie-thespians named the Earthlight Players who had rented the El Monaco's barn for the summer. When afro-haired producer Michael Lang's (Jonathan Groff) helicopter first landed on the front lawn of the El Monaco to strike a deal with Elliot - the head of the local Chamber of Commerce, the group surrounded the chopper and then doffed their skimpy gold loin-cloths.
The same troupe also disrobed in front of shocked locals on a performance stage erected at the El Monaco just before the Woodstock concert commenced, and taunted the audience to join them [Even major star Emile Hirsch in his role as a traumatized Vietnam War vet ran up to the stage, stripped off his clothes, and was briefly glimpsed full-frontal].
The third major instance of nudity was also at White Lake, when hordes of carefree skinny-dippers happily frolicked in the water.
Regarding the large numbers of unknown cast members who were hired to appear naked, producer James Schamus and director Ang Lee noted the difficulty of locating young actors whose naked bodies were neither overly fit (with "chiseled abs"), nor overweight, nor unnaturally hairless (with "landing strips"). As Lee put it: "We had to cast them a couple months ahead so they could all grow their hair back."
Helicopter Arrival Greeted by the Nude Earthlight Players
at White Lake
Van Wilder: Freshman Year (2009)
Although universally-reviled as an unfunny and vulgar comedy, this recycled, direct-to-video prequel was actually the third film in a series of Van Wilder films (previous entries were in 2002 and 2006). The main actors from the original film were substituted with other lesser-knowns for this predictable 'uptights vs. party animals' tale.
Jonathan Bennett starred as freshman student Van Wilder (replacing Ryan Reynolds) at Coolidge College, and reality-TV (Laguna Beach, and The Hills) star Kristin Cavalleri portrayed prudish Kaitlin Hayes. After delivering a Thornhill High-School commencement speech while being pleasured under the podium by his female co-valedictorian, Van Wilder selected the undergraduate school because of the long tradition of other Van Wilders who had previously attended, and after he arrived learned of its reputation as Playpen's # 1 party school in 1979.
However, he found the school ultra-conservative, chaste, Christianized, and pro-military, run by iron-fisted, uptight and self-righteous Colonel Dean Charles Reardon (Kurt Fuller). The new rules were: "No drinking, no fornicating, and no partying, period."
Religious zealot coed Eve (Meredith Giangrande) initially told him: "Alcohol is the devil's mouthwash" and "Orgasms are the devil's heroin. Just once and you're hooked." Later, the converted "devil woman" begged for sex ("I need to talk to God...I need to feel him inside of me. Don't you wanna help me find God?...Just f--k me!").
Van Wilder took it upon himself to liberate the puritanical school ("We shake things up a bit") with parties, drinking, sex, and shenanigans, while trying to impress ROTC-rival Dirk Arnold's (Steve Talley) girlfriend Kaitlin, and win her over. His efforts almost backfired (he defended her with coarse language to the Dean: "That girl's got bigger balls than you, me, and my freakish dog combined").
The unrated version (as well as R-rated) was due to its emphasis on sexual innuendo, bare breasts and other gross-outs, including:
The film concluded with war-games between two competing teams - with Wilder defeating Reardon via beach fun and party games - and tempting skinny-dipping (Sarah Oliver again), and reporting:
Blonde Co-Ed (Sarah Oliver)
Sex 101 with Coed
The Vintner's Luck (2009)
New Zealand writer/director Niki Caro's fantasy - a romantic costume melodrama and an adaptation of Elizabeth Knox's novel of the same name, was critically panned by reviewers after it premiered at the Toronto Film Festival.
It featured Keisha Castle-Hughes (known from Caro's earlier Whale Rider (2003) as the youngest-ever Best Actress nominee) in a few nude scenes, appearing as:
Desperate, Sobran made a deal with winged angel Xas (Gaspard Ulliel), but misfortunes, trials, and tribulations overcame him.
Celeste became jealous when he became friendly with baroness-heiress Aurora de Valday (Vera Farmiga) and entered into a wine production partnership with her - but she ultimately suffered from breast cancer and was operated upon for a mastectomy.
Aurora de Valday
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Index to All Decades, Years and Features
- History of Sex in CinemaA year-by-year look at the films, scandals and changing laws
- History of Erotic FilmsEverything you ever wanted to know from the first sex symbol to the birth of porn
- Movies That Challenged RatingsA ranked movie list of 10 milestone sexy films that challenged the ratings
- Bombshells on the Big ScreenA look back at Hollywood's sirens including Monroe, Mansfield, and Mamie
- Top Ten NC-17 MoviesWhat's the best movie to get this controversial rating? Vote now!
- Top 10 Steamiest Sex ScenesWhat's the hottest movie scene ever? Vote now!