This year’s Venice Film Festival stood out not only for its high-profile lineup but also for its provocative content. Alongside the oppressive heatwave that affected attendees, the festival featured a slate of films rich in sexual themes, from Nicole Kidman’s “Babygirl” to Luca Guadagnino’s “Queer” starring Daniel Craig. Meanwhile, Audrey Diwan’s “Emmanuelle” is making waves at the San Sebastian Festival, and Alain Guiraudie’s “Misericordia,” which debuted at Cannes, is a fixture at major festivals this fall.
Erotic films in 2024 are no longer simply for entertainment; they aim to challenge norms and dismantle stereotypes, especially regarding female and LGBTQ+ characters. Much like Kidman’s character in “Babygirl,” these films are crafted to confront and explore deeper issues.
Directed by Halina Reijn, “Babygirl” delves into female sexuality and consent, resonating in the post-#MeToo landscape. Similarly, “Queer,” featuring Craig and Drew Starkey, questions traditional views on homosexuality, masculinity, and personal acceptance.
Kidman, known for her roles in sexually charged films like “Eyes Wide Shut,” praised Reijn’s “female gaze” during the Venice press conference, emphasizing how it helped portray themes such as marriage, truth, and power in a way that felt liberating for women.
In “Babygirl,” Kidman portrays a high-powered CEO who risks her career and family for an intense affair with an intern, exploring her deepest fantasies. Kidman noted that the film’s unique perspective, guided by Reijn, was both a personal and creative liberation for her.
Alberto Barbera, Venice’s programmer, highlighted that “Babygirl” reflects a shift in cultural and gender dynamics since the #MeToo movement began. He noted that a similar story decades ago would have ended differently, with the female protagonist facing punishment for her actions.
The film also addresses infidelity, traditionally portrayed from a male perspective, showing female characters as either virtuous or promiscuous. “Babygirl” shifts this narrative by making the younger man the threat to the family.
In “Queer,” an adaptation of William S. Burroughs’ novel, Craig plays an American expat in 1950s Mexico who becomes involved with a younger man, challenging his own biases and societal expectations. Unlike the subtlety of “Call Me By Your Name,” “Queer” features explicit scenes, crafted by Craig and Starkey to be genuine and emotionally resonant.
Luca Guadagnino, known for reviving erotic cinema with “Call Me By Your Name,” believes that despite recent puritanical trends, eroticism remains a vital aspect of cinema. He argues that good cinema has always been erotic, despite market fluctuations.
Once a dominant genre in the 1990s, erotic films have become rare in Hollywood, largely due to profitability concerns. Karina Longworth, film historian and host of “You Must Remember This,” attributes this to Hollywood’s tendency to replicate past successes, citing the wave of films following the success of “Fatal Attraction.”
Following “Fatal Attraction,” Michael Douglas became a key figure in erotic films with successes like “Disclosure” and “Basic Instinct,” the latter achieving substantial financial success. However, many similar films did not fare as well.
Longworth points to “Showgirls” as a prime example of a failed attempt to replicate “Basic Instinct’s” success, and similarly, “Eyes Wide Shut” was met with disappointment despite high expectations.
The availability of adult content online over the past thirty years has diminished the appeal of theatrical erotic films. Longworth notes that audiences now prefer to view such content privately, reducing the theatrical market for these films.
Streaming services have provided new opportunities for erotic films, but distributors remain cautious about acquiring movies with explicit content for theaters. While there are exceptions like “Fifty Shades of Grey,” which had a built-in audience, many erotic films struggle to achieve similar success.
Frederic Boyer, artistic director of Les Arcs and Tribeca film festivals, counters the notion that erotic films lack collective appeal. He cites the positive reception of Reijn’s film “Instinct” at the Les Arcs Film Festival as evidence that audiences can enjoy and appreciate such films in a communal setting.
Another challenge for erotic cinema is the fear of misrepresenting sexuality post-#MeToo. Abdellatif Kechiche’s “Blue is the Warmest Color,” criticized for its handling of a sex scene, illustrates this issue.
Despite these challenges, established male directors continue to produce erotic films in Europe, such as Verhoeven with “Elle” and “Benedetta,” and von Trier with “Nymphomaniac.” Newer directors like Reijn and Diwan are also emerging as influential voices, crafting films that resonate with younger audiences. Guiraudie’s “Stranger by the Lake” exemplifies this shift with its exploration of queer desire and universal themes.
Female directors tackling erotic themes face their own set of obstacles. Diwan’s upcoming film “Emmanuelle” has encountered industry reluctance due to its unconventional approach to female pleasure, differing from the male-centric portrayals of earlier “Emmanuelle” films.
Manlio Gomarasca, film producer and editor-in-chief of Nocturno Cinema, suggests that Diwan’s approach challenges traditional male perspectives on eroticism and highlights a shift towards films made by women with a political edge.
Despite skepticism, some distributors are still open to bold erotic films if they involve top directors or A-list actors. At Venice, A24 acquired “Queer” before its premiere, demonstrating ongoing interest in high-quality erotic cinema.
Matteo Rovere, director of “Diva Futura,” believes that the market is ready for a resurgence of erotic films, driven by innovative storytelling and fresh perspectives.
Guiraudie anticipates that the theme of intimacy in cinema will increasingly be embraced by mainstream films, both in Europe and Hollywood, as the industry seeks new sources of spectacle beyond the current trend of sequels and remakes.