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You are at:Home » Movie sex scenes are back, but they’re not necessarily sexy
Entertainment

Movie sex scenes are back, but they’re not necessarily sexy

Adnan MaharBy Adnan MaharJanuary 19, 2025No Comments7 Mins Read0 Views
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On social media, a boring debate sometimes arises: “Do movies need sex scenes?” Generation Z is said to want to reduce contact with them. Still, whether this year’s award nominees have anything to say, the answer is clear. Yes, sex is important to the movie.

The movies mentioned in the conversation are full of sex. “Anora” revolves around a sex worker, and her work is central to the story. “Babygirl” is a story about a woman who explores desires that she finds embarrassing. Even “Nosferatu” is primarily about sex. Robert Eggers’ retelling of the classic vampire story focuses on the desires of Eren, the prey of an undead count.

But none of the sex scenes in these or other recent films are emotionally explicit. Anything they inspire always comes with an asterisk. The directors use these moments to explore the complex dynamics between the characters. These scenes are intended to provoke discussion, not excitement. The following five in particular do this particularly well.

“Anora”: Quickie

In many ways, the first half of Sean Baker’s Anora plays out like a traditional romantic comedy. Two mismatched people, sex worker Ani (Mikey Madison) and oligarch Ivan (Marc Eidelstein), meet and after a quick courtship marry. However, their sex scenes are not romantic. Instead, they are played almost entirely as comedies. Consider the scene in which Annie goes to Ivan’s mansion for the first time. Sex is transactional, after all, he’s paying for it, but it’s also very fast.

Madison sparked controversy when she told Variety magazine that she refused to use an intimacy coordinator on set. In an interview with the New York Times, she described the film to me as a “sex shot” rather than a sex scene. This also applies to on-screen moments. Intercourse itself lasts about 10 seconds. Ivan quickly reaches orgasm, and Annie can’t help but laugh. Next thing you know, Baker cuts to the story of getting Ivan to turn on the TV. he is satisfied For her, it’s just another day at the proverbial office. This interaction is played like a gag and the audience chuckles.

Baker establishes an uneven dynamic here. Sexually, Ani is much more experienced, but this cannot compensate for the fact that Ivan’s wealth makes her completely dependent on him. Ani is unaware of it at first, but later in the film, when the reality of the situation becomes clear and Ivan jumps at the first sign of threat from his parents, she realizes that she wants to control him. Understand how little there is.

Nosferatu: Finale

The grand finale of Robert Eggers’ Nosferatu has sparked debate since his film was released last month: Is it perversely romantic? Or is it brutally terrifying? Or something in between?

As a plague sweeps through her town, Ellen (Lily-Rose Depp) realizes that the only way to stop Count Orlok’s (Bill Skarsgård) reign of terror is to sacrifice herself to him. That means keeping him with her until nightfall. While her husband is on a wild goose chase, believing he is hunting vampires, she welcomes Orlok into her room in a bridal gown. She takes off her clothes and she emerges in a state of ecstasy as he burrows his teeth into her breasts. As he begins to notice the sun, she reaches out to cradle his face once more. Lying lifeless in each other’s arms, her still youthful corpse atop his desiccated corpse surrounded by flowers, they look more like tragic lovers than villains.

Of course, the fact that Orlok is a centuries-old vampire and Eren is a young woman raises questions of consent, especially considering how he possessed her mind and body. But Eggers makes it clear that she is acting of her own volition here, and that her desires cannot be easily explained or defined. When she met Orlok in the past, she felt joy in his company. The same goes for the final hug.

“Baby Girl”: A secret meeting at a seedy hotel

When Romy (Nicole Kidman) and Samuel (Harris Dickinson) first meet in a hotel room in Halina Lane’s Baby Girl, they have no idea what they’re getting into. I didn’t. Romy, the CEO of a robotics company, can’t believe he even showed up here wearing a light top. Samuel is similarly perplexed, trying to do justice to the control he feels Romy desires. They both seem to think their situation is a little strange. Almost the entire scene is foreplay, from Lane focusing on Kidman’s face as she slumps on the rug to Samuel reaching up her skirt.

Reijn’s screenplay fleshes out the chaotic nature of their interactions. Romy realizes that she could be seen as exploiting Samuel. After all, she is older and literally his boss. She tries to maintain that authoritative air as she scolds him for his boldness. But Samuel’s reaction is provocative. If she reveals what’s going on, she could lose her family and her job. However, Reijin will not leave Romy without agency. A shot of her face when she reaches orgasm shows that even though she enjoys being told what to do sexually, the very act of receiving pleasure is empowering to her. I’m proving it. There is shame, but there is also victory.

Queer, directed by Luca Guadagnino, depicts despair in each frame of alcoholic writer Lee (Daniel Craig)’s first sexual encounter with Allerton (Drew Starkey), a young woman he is attracted to. is overflowing.

In 1950, in Mexico City, an aloof Allerton visits Lee’s apartment for the first time after a night of drinking, vomits into the toilet and sits on his bed. Inebriated, he provokes Lee’s hunger for himself. Lee uses this opportunity to perform oral sex on Allerton. Guadagnino filmed this as if Lee was worshiping at the altar of Starkey’s character. As Lee greedily consumes his body, Allerton looks down on him with a mixture of lust, pity, and authority. When Allerton complies, he closes in on Lee, revealing the older man to be completely under his control.

It’s a look that tells of the uneasy bond between the two. Allerton pushes Lee away, and Lee greedily pursues him. This early moment we witness is full of desire, not necessarily one-sided, but full of imbalances that confuse us. And what, symbolically, is vomit? Did Allerton need to be purged before forcing Lee to take action?

“Challengers”: Three-way make-up session

One of the complaints I’ve heard about “Challengers” is that even though the movie is praised for being sexy, there aren’t that many actual sex scenes. In fact, only once is it clear that sexual intercourse occurred. The night before a game with her husband Art, Tashi (Zendaya) joins her ex Patrick (Josh O’Connor) in the car. Former best friend (Mike Feist). Even with that connection, the most blatant beats occur off-screen. I would argue that the lack of serious sex scenes is intentional. Director Luca Guadagnino once again saved the most intense erotic energy for the tennis court.

Except for the much-talked-about scene near the beginning of the movie, when Tashi, Patrick, and Art, still teenagers, meet in a hotel room during the U.S. Open. She invites the men to sit on either side of her and begins kissing each of them. She then invited them to kiss her neck at the same time, and eventually she pressed their faces together and sat back watching, a wicked grin spreading across her face. They lose themselves until she breaks the spell. That’s what sex is to her, and it’s a game just like the sport she’s good at.



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Adnan Mahar
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Adnan is a passionate doctor from Pakistan with a keen interest in exploring the world of politics, sports, and international affairs. As an avid reader and lifelong learner, he is deeply committed to sharing insights, perspectives, and thought-provoking ideas. His journey combines a love for knowledge with an analytical approach to current events, aiming to inspire meaningful conversations and broaden understanding across a wide range of topics.

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