For her fearless work in in this scene and others, Berry became the first African-American to ever win the Oscar for Best Actress.- David Ehrlichīedfellows: Jean-Hugues Anglade, Béatrice Dalleīeineix’s erotic drama, a sensation when the French film first debuted in 1986, details the deteriorating relationship between Zorg (Anglade), a handyman, and the eponymous spitfire (Dalle) who resents him for not living up to his artistic potential.īetty Blue opens with a bang: Zorg writhes on top of Betty, thrusting in the missionary position as the camera slowly dollies in. For another, Monster’s Ball convinced Berry to go fully topless (and then some) in an indie film only a few months after she was paid $500,000 to briefly show her breasts in Swordfish. Intercutting the sex with shots of birds flapping around in a cage-a metaphor that’s even louder than Leticia’s moans-Forster launched this sequence directly into legend.įor one thing, it remains the most graphic and prolonged sex scene to ever feature an actor named Billy Bob. He’s a bigot, she’s broke, and they both need to feel good. Leticia (Berry) has been recently widowed, and even more recently has witnessed her young son’s death after being struck by a car. Hank (Thornton) has just quit his job after watching his son (Heath Ledger) shoot himself in the chest. Needless to say, the film was produced by Lee Daniels. This specific scene both complicates that tension and drives it home, forcing us to rethink the boundaries of all relationships.- Daniel Walberīedfellows: Halle Berry, Billy Bob ThorntonĪs thick a slice of misery porn as has ever been cut, Forster’s Southern-fried tragedy tells the story of a racist executioner who falls in love with the widow of a man he recently sent to the electric chair. The sex in this film is almost entirely separate from love, despite the fact that the rest of its plot is essentially a plural love story. Gender and sexuality are different things, after all. Yet Wild Side breaks ground beyond simple representation. There are not enough films that portray transgender protagonists with respect and fullness of character. On their drive she happens to see Mikhail, and chooses him to be her partner in what begins as a completely impersonal experience. Stéphanie picks up a client at a club who wants to watch her have sex with someone else. Sébastien Lifshitz’s award-winning film is a portrait of Stéphanie (Michelini), a transgender Frenchwoman somewhat suspended in love between her two roommates: Djamel (Yasmine Belmadi), an Algerian hustler, and Mikhail (Nikitine), a Russian soldier gone AWOL. The effect is somehow more delirious and emotive than any liplock before or since.- Tom Huddlestonīedfellows: Stéphanie Michelini, Edouard Nikitine Hitchcock subverts this by having Grant and Bergman kiss, then break away for a few seconds, then dive in again. Under the auspices of the Hays Code, screen kisses were limited to a strict three seconds. The first kiss between Grant and Bergman is a textbook example of high-pitch eroticism without a scrap of clothing being shed.
He may have gotten more gratuitous in later life (see 1973’s Frenzy) but Notorious was Alfred Hitchcock’s sexiest film, even if its steaminess was tempered, as ever, by manipulation and a thin veneer of disgust. Grant plays her sleazy handler, with whom she begins a torrid affair. government-an act, essentially, of state-sanctioned prostitution. In Hitchcock’s lurid post-WWII drama, Bergman plays a German immigrant tasked with seducing a Nazi spy for the U.S. It’s messy, joyous, honest and human, and the only real risk is of getting something caught in your fly.- Tom Huddleston However, it’s not the sex scene that’s important here, but the aftermath: Following a frank discussion about bodily fluids, Eric zips up a bit too quickly, with alarming and painful consequences.Īlong with Don’t Look Now the same year, Verhoeven’s film was one of the first to depict sex neither as a furtive act committed behind closed doors nor the pinnacle of human interaction, but as an everyday act between two carefree, consenting adults.
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It’s free love on the freeway as Olga picks Eric up in her car and takes an immediate shine to him. Verhoeven’s second feature documents the relationship between womanizing sculptor Eric (Hauer) and promiscuous girl-about-town Olga (Van de Ven), from giddy beginnings, through treachery and betrayal to its final, violent end. Bedfellows: Rutger Hauer, Monique van de Ven
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