Venice is sexy again. Erotica of all kinds – gay, straight, kinky and theoretical – was well represented at this year’s Venice Film Festival, with plenty of steamy action on screen, rarely gratuitous.
Two of this year’s hottest festival titles — Halina Reijn’s baby girl and TV series Disclaimer From Alfonso Cuarón – Begins with a climax. baby girl The film also reaches a climax at the end, starring Nicole Kidman as a technical manager who enjoys BDSM, and she is almost naked for most of the film.
Queeradapted from the autobiographical novel by William S. Burroughs, and the latest challenger and please call me by your name Filmmaker Luca Guadagnino is apparently on a one-man mission to revive sexy movies, starring Daniel Craig as an American expatriate addicted to drugs in Mexico circa 1950 , he becomes obsessed with and pursues a young bisexual Navy sailor played by Drew Starkey.
Italian characteristics future singer Written by Giulia Louise Steigerwalt Explore the legendary Italian porn studio set up by Riccardo Schicchi that launched the careers of XXX stars such as Cicciolina, Moana Pozzi and Éva Henger. and like Directed by Norwegian director Dag Johan Haugerud, second director sex/love/dreams The trilogy is a verbally explicit (if not visually graphic) exploration of the contrast between the sex we have or want and the sex society expects us to have and enjoy.
“As a consumer, sometimes I just want to watch a hot movie, a sexy movie,” Lane told hollywood reporterclear scenarios in the explanation baby girlwhich included a lot of verbal, digital and verbal stimulation, “the sexy characters in the scene turned me on a little bit.”
Starkey added: “Yeah, the festival is looking really exciting this year. I’m really excited about it.
Daniel Craig and Drew Starkey in Queer
Kinetic Media
Although there’s plenty of hot and intense action on screen, the sex films released on the Lido this year are markedly different from the porn films of past decades. Goals are not what they were in the 1970s (think last tango in paris, night porter or Don’t look now) shocked conservative audiences and broke taboos. Pornhub launched in 2007. Nor are these new sexy movies a rehash of the erotic thriller wave of the late ’80s and early ’90s. Dress up to kill, basic instinct, fatal attractionor body of evidencewith its mix of sensual thrills and sexual menace, you can be sure that the horny heroine will get her comeuppance in the final volume.
The new hot and heavy cinema aims to be more therapeutic. baby girl Incorporating elements of 90s erotic thrillers. Nicole Kidman stars as a high-powered CEO who is dissatisfied with her marriage to hot husband Antonio Banderas and wants to marry Harris Dickinson (Harris Dickinson) plays a young intern who seeks fulfillment in a sadomasochistic relationship that puts her career and family at risk.
“I was incredibly inspired by all the sex thrillers of the ’90s: basic instinct, fatal attraction, 9 1/2 weeks, indecent proposal“, Lane points out, “This movie is speaking to them. But that’s my answer to those movies, my female answer.
Rein won fatal attraction plot and give it a sex-positive and feminist spin. The result is an erotic holiday thriller suitable for the whole family.
Cate Blanchett in Disclaimer
Venice Film Festival
Caron’s DisclaimerAlthough there are plenty of steamy scenes – one involving hot MILF Catherine (Leila George) seducing student Jonathan (Louis Partridge) at an Italian beach resort, with THRReviews, direct from the Penthouse Forum – The purpose is more than just arousal. in his RashomonStylistically mysterious, Cuarón’s true goals in exploiting these pornographic tropes are quite different from one’s initial expectations, and are not revealed until the final episode of the seven-part series.
and QueerLikewise, Guadagnino shows us plenty of skin and doesn’t hesitate to describe the attraction between Lee (Craig) and Allerton (Stuckey), who has a crush on him of erotic obsession. But the gender is Queer It was less about sensual gratification and more about a corrosive drive for connection and intimacy that Lee found impossible to achieve.
“We’re talking about love between men in the 1950s, when they didn’t really have the words to describe it, to define themselves,” Stackley said.
Likewise, two explicit sex scenes in Bradley Corbet’s film fauvism — a frontrunner for this year’s Venice Golden Lion — charges zero for porn, instead revealing the Hungarian Jewish architect Laszlo Todt (Adrien Brody) and his wife Özsebet (Felicity Jones), who fled Europe after the world war.
like
backlight
Perhaps the most radical use of on-screen sex in Venice this year is likeis the second in a trilogy about sexual behavior and social norms from Norwegian writer-director Dag Johan Haugrud. It’s a movie that’s rife with sex talk—the characters spend almost all of their time discussing their sexuality, the sex they want, and the things they worry about about them—in intimate, often medical detail. There is no depiction of actual sex on screen.
“I find it difficult to watch sex scenes in movies because I question its functionality,” Haugruder said. “People have sex in different ways, you can’t ask [the actors] Bringing his or her sexual experience to the shoot, because it’s very personal, they always tend to have what’s called “movie sex,” which doesn’t feel very real or realistic.
The goal of his new trilogy – the first film, genderpremiered in Berlin for the third time to great acclaim, dreamdue out later this year – was about making “a movie about sex that doesn’t show sex but allows the actors to be as specific and direct as possible in talking about sex,” Haugruder said.
The dialogue in Haugruder’s trilogy is neither seductive nor dangerous. His characters speak candidly and compassionately about the most intimate aspects of their lives without fear of judgment or condemnation. The radical approach of these films is to treat sex pragmatically, as an important and vital part of our lives that deserves careful, serious attention. Let’s talk about sex, baby, but there’s no need to get excited about it.
“It’s a little bit idealistic or utopian, but I don’t think it’s unrealistic,” Haglund said. “As a director, I want us to reflect on these issues and, through my films, present an image of a society where such conversations can take place. It is possible.
