Let’s Talk About Sex, Baby: Erotic Films Seduce Venice

🌈 Abstract

The article discusses the prevalence of erotic and sexually explicit content at the 2022 Venice Film Festival, highlighting several films and series that feature explicit sexual scenes and themes. It explores how this new wave of "sexy cinema" differs from previous eras of erotic thrillers, aiming to be more sex-positive and therapeutic rather than solely focused on titillation and shock value.

🙋 Q&A

[01] Erotic and Sexually Explicit Content at the Venice Film Festival

1. What are some of the films and series highlighted in the article that feature explicit sexual content?

• The article mentions several titles, including:
  • Babygirl by Halina Reijn, which opens and closes with orgasmic scenes and features Nicole Kidman's character exploring BDSM
  • Disclaimer, a TV series by Alfonso Cuarón, which includes a steamy scene of a MILF seducing a student
  • Queer, an adaptation of William S. Burroughs' novel, directed by Luca Guadagnino, which depicts the erotic obsession between two men in 1950s Mexico
  • Diva Futura by Giulia Louise Steigerwalt, which explores the legendary Italian porn studio that launched the careers of stars like Cicciolina and Moana Pozzi
  • Love by Norwegian director Dag Johan Haugerud, the second in a trilogy exploring sex, love, and dreams, which features extensive discussions about sex but no explicit visual depictions

2. How does the article characterize the goal of this new wave of "sexy cinema" compared to previous eras of erotic thrillers?

• The article suggests that the goal of this new "sexy cinema" is more therapeutic and sex-positive, rather than solely focused on shocking conservative viewers or blending sensual titillation with sexual menace, as was the case with the erotic thrillers of the late 1980s and early 1990s.
• For example, the article notes that Babygirl takes the "Fatal Attraction" plot and gives it a "sex-positive, feminist spin," while Disclaimer's steamy scenes are not for mere arousal but serve a deeper purpose in the Rashomon-style mystery.

3. What are the key differences in the portrayal of sex and sexuality between the new "sexy cinema" and previous eras, according to the article?

• The article suggests that the new "sexy cinema" is less about shocking taboos and more about treating sexuality pragmatically and seriously, with a focus on exploring the complexities and nuances of human relationships and intimacy.
• For example, the article notes that the sex scenes in Queer are less about sensual satisfaction and more about the characters' struggle to find connection and intimacy, while the explicit scenes in The Brutalist are used to reveal trauma rather than titillate.
• The article also highlights Love, which avoids any visual depictions of sex and instead focuses on the characters' candid discussions about their sexual experiences and desires.

[02] Dag Johan Haugerud's Trilogy on Sex, Love, and Dreams

1. What is the key approach and goal of Dag Johan Haugerud's trilogy, as described in the article?

• The article states that Haugerud's goal with the trilogy (Sex, Love, and Dreams) is to "make films about sex without showing sex but by getting the actors to be as concrete and direct as possible when talking about sex."
• The article notes that Haugerud's approach is to treat sexuality pragmatically and seriously, with the aim of facilitating the kind of open, empathetic conversations about sex that he believes should be possible in society.

2. How does the article characterize the conversations about sex in Haugerud's films?

• The article describes the conversations in Haugerud's films as "not seductive nor dangerous," but rather "plain and empathetic" discussions about the most intimate aspects of the characters' lives, without fear of judgment or condemnation.
• The article suggests that Haugerud's approach is "radical" in its treatment of sexuality as an important and significant part of life that deserves careful, serious attention.

3. What is the article's assessment of the idealistic or utopian nature of Haugerud's approach, as described in the article?

• The article notes that Haugerud's approach has "a touch of the idealistic, or utopian, about it," but the director believes it is not unrealistic and that it is possible to present an image of a society where these kinds of open, empathetic conversations about sex can happen.