You may know actor/model type Cody Deal from his portrayal of Thor on Syfy's version of the comic book movie Almighty Thor, or if you watch The Girl's Guide To Depravity over on Cinemax. Either way, here's Cody in some MatrixNeo/Trinity roleplay type shit on an episode of GGTD.

[via justadream.org]
(More Nude Male Celebs)

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Thanksgiving erotica

November 26, 2013, 4:07 am

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Gratified, Grateful

from Ms Naughty (Louise Lush)

A short erotic film celebrating intimacy, connection and passion. It's about feeling grateful for our bodies and our partners, for laughter and shared joy, for physical and emotional pleasure.

This is sex with gratitude, Thanksgiving erotica.
This film has been edited to suit Vimeo, it contains mature content but nothing you would not see in a Hollywood scene. There are male and female nipples and some nudity. This film aims to present sexuality in an artistic and meaningful way.
You'll find the more explicit original film at BrightDesire.com

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Topless girl gets off the hook

November 26, 2013, 4:21 am

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Topless girl not responsible for deadly car crash

By Josh Saul

Brittany Lahm was found not responsible for a car crash because one of the passengers in the car untied her bikini top.

Her indecent exposure got her off the hook.

A bikini clad driver who lost control and crashed her car — killing a passenger who undid her bikini top — was found not responsible for the collision because her sudden exposure was, “a sudden and unforeseen emergency not of her own making,” a Brooklyn appeals court has ruled.

Brandon Berman died in the 2008 car crash.

Brittany Lahm, 24, was driving back from the Jersey Shore in 2008 when back-seat passenger Brandon Berman pulled the strings on her top, causing her to take her hands off the wheel and cover herself, court papers state.

That’s when the packed car swerved off of the highway and crashed – killing Berman, court papers state.

One of the surviving passengers sued Lahm over his own injuries but a Rockland County jury said she was not negligent in the crash and the Brooklyn appeals court upheld their decision.

Dissenting members of the court described Berman’s behavior to the crash, arguing that Lahm should have pulled over the car to deal with his distracting and dangerous behavior – rather than continuing on at 65 miles per hour.

“The evidence at trial established that, prior to the accident, Brandon engaged in a course of distracting conduct, including spitting chewing tobacco out the window, opening an umbrella inside the vehicle, leaning halfway out of the window, and using the umbrella to clean the tobacco off the exterior of the vehicle,” the decision read.

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Jennifer Lawrence' SERENA Shopped to Buyers

November 26, 2013, 4:37 am

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New Jennifer Lawrence-Bradley Cooper Movie Quietly Shopped to Buyers

Jennifer Lawrence Bradley Cooper Movie - P 2013

CAA will start screening Susanne Bier's Depression-era drama "Serena," which was shot in early 2012, late this month -- with the Weinstein Co. and Fox Searchlight already interested in the project.

This story first appeared in the Dec 6. issue of The Hollywood Reporter magazine.

Move over, Silver Linings Playbook and American Hustle. Another film starring Jennifer Lawrence and Bradley Cooper is headed to the big screen, and this one is shrouded in secrecy. Sources say CAA will begin quietly screening the Lawrence-Cooper pairing Serena for distributors in late November.

The Depression-era drama, directed by Danish helmer Susanne Bier, has been so long in the making (Lawrence and Cooper shot it in March 2012, right after Silver Linings and just as The Hunger Games was hitting theaters) that many have forgotten it exists. But project insiders say the film, which Bier has just finished editing, is generating frenzied interest from outlets including Fox Searchlight and The Weinstein Co. thanks to another powerful performance by Oscar winner Lawrence.

Still, it took Bier more than 18 months to finish the film, often a sign that a production is troubled.
"Actually, it was just the opposite," says one insider. "There were no reshoots or anything like that. It was just a real precision edit because the story is about a woman's descent into madness. And Susanne is a total perfectionist." Like Lawrence, Bier is a recent Oscar winner (best foreign-language film in 2011 for In a Better World). But she was not the first director to stake a claim to Serena, based on Ron Rash's 2008 novel about a North Carolina timber baron and his ambitious wife.

Darren Aronofsky originally was attached to direct with Angelina Jolie starring. But Aronofsky and Jolie fell out, Bier boarded and cast then-rising stars Cooper and Lawrence as the ill-fated newlyweds. Todd Wagner, who financed the film through his and Mark Cuban's 2929 Productions, allowed Bier all the time she needed.

After Silver Linings, "We didn't want to be the OK version of the Jennifer Lawrence-Bradley Cooper coupling," says the insider. If the film sells, it could hit the 2014 festival circuit (Cannes and Venice have reached out) ahead of next year's awards race.

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Thanksgivukkah

November 26, 2013, 9:42 am

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Thanksgivukkah Is a Perfect Setting for a Romantic Comedy

Hanukkah will be on Thanksgiving this year. It's a type of thing that sounds like it could be rife with conflict, until you realize that latkes would be right at home on any Thanksgiving table. (Maybe this year will start a new tradition for some. Tradition!) However, it appears Nick Kroll didn't get the message in this Funny or Die sketch, as he spends his Thanksgivukkah Fred Flintstone–ing between his in-laws' Thanksgiving dinner and his own parents' Hanukkah. If only there were seven other days for Kroll to celebrate one of the holidays.

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Mormon women laid bare

November 26, 2013, 12:31 pm

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Mormon women laid bare: Powerful nude photo series protests religious system that enforces strict modesty

By Olivia Fleming

With the goal of 'normalizing nudity,' a new photography project featuring naked Mormon women hopes to shed light on the religion's strict codes of modesty.
Salt Lake City photographer Katrina Barker Anderson, who is a lifelong member of The Church of Jesus Christ of Latter-day Saints, launched Mormon Women Bare in July 2013 and has so far had more than 30 Mormon women volunteer to be photographed. 'I know that images can be very powerful tools for change,' the 30-year-old told MailOnline. 'For the women who chose to be photographed, this act of artistic expression helps them reclaim their bodies while protesting a system that has told them they must remain covered and careful.'

With the aim of 'normalizing nudity,' a new photography project featuring naked Mormon women hopes to shed light on the religion's strict codes of modesty

Mrs Anderson, who hopes people will view the images 'with open minds and hearts,' says the idea of Mormon Women Bare began in 2012 after several news stories surrounding modesty in Mormon culture came to light.
'A story appeared in the Church's children's magazine about a young girl shaming her friend for not dressing “modestly” enough -- the story involved a young girl wearing a skirt without tights,' she explained.
'Then a BYU-Idaho student was not allowed to take a test because her jeans were too “form fitting”. And one of the Church's magazines altered a Carl Bloch painting of angels by removing their wings and adding cap sleeves to their dresses. After hearing these stories and others, I became increasingly frustrated.'
Mrs Anderson hoped that she could answer some of her own burning questions though her project: 'Why has the modesty culture of the LDS church gotten so extreme in the past few years and what can we do about it?' she asked.

Salt Lake City photographer Katrina Barker Anderson launched Mormon Women Bare in July 2013 and has so far had more than 30 Mormon women volunteer to be photographed (pictured: Monica)

Mrs Anderson, who hopes people will view the images 'with open minds and hearts,' says the idea of Mormon Women Bare began in 2012 after several news stories surrounding modesty in Mormon culture came to light

'For the women who chose to be photographed, this act of artistic expression helps them reclaim their bodies while protesting a system that has told them they must remain covered and careful,' said Mrs Anderson

Despite the possibility of being reprimanded by their community, Mrs Anderson said it was 'surprisingly easy to find volunteers.'
'I think everyone who has volunteered has taken that possibility seriously, but has ultimately decided this project is worth that risk,' she explained, adding that 'as of now, no one has been reprimanded by church leaders.
'I certainly hope it stays that way. I think this project is absolutely defensible artistically and is not a reason for church discipline.'
But Mrs Anderson also hopes that the photography series will touch American women outside of the religion.

Despite the possibility of being reprimanded by their community, Mrs Anderson said it was 'surprisingly easy to find volunteers' for her project

Amanda, pictured, said she volunteered for the project because she 'knew I had to reclaim the only thing left that I felt like I had control over: my body and the ever imperfect, complicated relationship I¿ve always had with it'

Amanda, pictured, volunteered for the project because she 'knew I had to reclaim the only thing left that I felt like I had control over: my body and the ever imperfect, complicated relationship I've always had with it'

Grace, pictured, said she volunteered because 'too often Mormon women wait for and rely on their husbands or the births of their children to validate the beauty, divinity and power of their womanhood'

'By seeing what women really look like proves incredibly powerful,' she said. 'We are so bombarded with reasons to feel shame about our bodies.
'Most of the images we see of women’s bodies are very thin, very “ideal”. In reality, very few of us fit that so-called ideal. It is unrealistic to expect all of us to be perfectly thin and sculpted, with perky breasts and no cellulite.
'For women to see that other women are not perfect and yet are absolutely stunning is immensely affirming. . . Women of different shapes, sizes, and ages demonstrate that bodies need not bring shame but can be owned, celebrated, and honored.
Mrs Anderson strives to show diversity of age, body type, ethnicity and race in her project, however she admits that has come across several hurdles.

'I hope that women see this and have more compassion for themselves and their bodies. I hope that men see this and realize that women should not be objectified, even if seen nude,' said Mrs Anderson

Katie, pictured, had her first baby out of wedlock; she offered to be photographed because: 'To have my fertility used against me, made into a sin, is one of the greatest wrongs I have had to weather'

Kathy, pictured, said she wanted to show off her 'abdomen so stretched by seven pregnancies,' her 'lopsided breasts' and 'upside-down butt that was flat and round in all the wrong spots'

'Because I live in Utah, finding women of color has been difficult. Also, finding women over age 50 has been hard, although I do have a few older volunteers that I will be photographing soon.'
Mrs Anderson says she has received an outpouring of personal and positive reactions to her project, which she feels confident will continue.
'I hope that women see this and have more compassion for themselves and their bodies. I hope that men see this and realize that women should not be objectified, even if seen nude.
'I see the project as a celebration of women and the human form. I hope others see that as well.'

Mormon Women Bare

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'Blue is the Warmest Color' Director on Lea Seydoux...

November 26, 2013, 12:36 pm

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'Blue is the Warmest Color' Director on Lea Seydoux, Taking on the Establishment and Paranoia (Q-and-A)

Speaking to THR in Hong Kong, Abdellatif Kechiche, who helmed the Palme d'Or-winning film, also discusses his "pseudo-success," saying his career only offers an "illusion" of upward social mobility in France.

HONG KONG – Palme d'Or-winning director Abdellatif Kechiche described his achievements as a form of "pseudo-success" amid continuing social class boundaries in France and discussed his verbal feud with Lea Seydoux during an interview with The Hollywood Reporter during a visit here.

"I think I'm a bad example," he told THR after appearing at a press conference at a hotel in Hong Kong marking his film's screening at the city's French Cinepanorama film festival. "I'm like a farmgirl who gets to marry a prince. And the people would say, 'You see, it's possible!' And then this becomes an illusion. On the contrary, my pseudo-success leads us to think there are actually doors to be opened. But they are very much locked, and that goes for me, too."

Talking through an interpreter, Kechiche discussed his career, which has earned him a best first film prize at Venice, two best director awards at France's Cesar Awards and, of course, Cannes' top honor with his latest outing, the three-hour romantic drama Blue Is the Warmest Color.

Kechiche's comment came after one that he made at the press briefing when he said his life as a cineaste has revolved around finding a way to open doors closed to him "because of his social class" -- a sentiment he brought to the screen with characters trying to take up theater, bohemianism and entrepreneurship to break away from their working-class roots.

The issue has been a key theme in recent months as the director became embroiled in a verbal feud with his Blue Is the Warmest Color starSeydoux, after the actress described the film's shoot as "horrible" and the Kechiche as a bully. He then chastized Seydoux's roots -- saying she hails from a clan of media moguls and business tycoons -- and suggested she might be manipulated by people in segments of the conservative French press.

In Blue, working-class Adele (played by newcomer Adele Exarchopoulos) makes desperate attempts to adapt to the milieu of her cultured, middle-class artist girlfriend, Emma (Seydoux).

Kechiche's suspicions of always being seen as an outsider at home were in full view when he pointed out, after being asked about the controversy by an Agence France Presse reporter at the Hong Kong press conference, that Asian audiences had never thought about asking him about the controversy.

The film is slated for release in Hong Kong on Jan. 2, and Kechiche said a longer version of the film would be shown on French TV and during a single-screen run in France early next year.

"From my experience, there has been an invisible wall, which separates the classes," Kechiche later said to THR to expand on the issue. "For some of the roles in my films, sometimes there is some kind of condition that prevented them from moving between classes -- like some codes [dictating] how they behave. And that's why they behave in a very complicated way."

He continued by mentioning that this also plays into his behavior. "For example, just before I spoke, I helped myself to a biscuit, and once I did, I started to ask myself whether it's correct to do that," he explained. "I think if I was someone who's very educated, someone who belonged to the elite, I wouldn't have asked myself this question…. There's already a difference between the classes, the difference between 'being' it and 'learning' it."

Kechiche said that in France he is "always and still considered as an Arab [first], a filmmaker second," given his Tunisian ancestry. He was born in Tunisia and moved to France as a child. He also argued that his working-class background was being held against him.

His view matches the unhappy endings of nearly all of his films. For all their attempts to learn Voltaire, start a respectable restaurant or mingle with hipsters, none of his lead characters manage to leave their social origins behind.

And it certainly is the case for Blue Is the Warmest Color's Adele, whose teenage rite of passage ends with sadness and defeat as she realizes, in the scene at the film's end where she attends the opening of Emma's exhibition in a posh gallery, how her love is doomed because of unsurmountable social differences.

Asked whether Exarchopoulos was also part of these class-defined dynamics while working very closely with Seydoux for months, Kechiche only said: "If I were to respond to this, I'd be very nasty." He added: "And actually, Lea has not had [that much] experience as an actress. She has a lot to learn."

The discussion also touched on his views on education. Adele eventually becomes a schoolteacher in Blue Is the Warmest Color. The director said he sees pedagogy as a "most important key," which is "very difficult to find and very heavy to carry."

The comment seems like a fitting return to his closed-door analogy about the establishment. Has he found doors open to him now? "I tried to kick the door open," he said after a laugh. "And it fell on me -- so I didn't exactly open it."

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M IS FOR MELON

November 26, 2013, 12:56 pm

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M IS FOR MELON

from Luis Solarat

Don't try this at home!

Created by : Luis Solarat / Uve Zatopek
Cast: Doutor P

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10 Saucy Films Rated NC-17

November 26, 2013, 1:21 pm

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10 Saucy Films Rated NC-17

by Clare Simpson

Producers and directors of saucier than average films often fear that they will get tarnished by the NC-17 rating which is usually bad for business so they submit to the MPAA’s demands and snip away at their film for a milder ‘R’ rating. Apparently, NC-17 is bad news at the box office but for thrill seekers like me, the NC-17 rating is a total come on to watch films that have been labelled perverted, too sexy, too violent for a mainstream audience.
Just as the X certificate used to act as a pervert’s guide to cinema, so does NC-17 which attract those who like the forbidden. Channel 4 used to show scandalous foreign films in the 1980s like Themroc and WR: Mysteries of the Organism. After the Daily Mail squealed blue murder that Channel 4 was corrupting the nation, the station decided to put little triangles of the screen so the UK viewers would know it was a film with adult material. Of course, this happened to lure even more viewers into watching foreign smut on Channel 4 and the triangle was a come on for those who wanted naughtiness.
The NC-17 rating is a bit like Channel 4′s old triangle on the screen. You know you are getting la creme de la creme of sauciness. In this article I am writing about movies that currently hold an NC-17 certificate and did not resort to cutting out footage for an R rating. The ones that stayed true.

Read more at http://whatculture.com/film/10-saucy-films-rated-nc-17.php#F9AtLixthGUlGYp2.99

Producers and directors of saucier than average films often fear that they will get tarnished by the NC-17 rating which is usually bad for business so they submit to the MPAA’s demands and snip away at their film for a milder ‘R’ rating. Apparently, NC-17 is bad news at the box office but for thrill seekers like me, the NC-17 rating is a total come on to watch films that have been labelled perverted, too sexy, too violent for a mainstream audience.

Just as the X certificate used to act as a pervert’s guide to cinema, so does NC-17 which attract those who like the forbidden. Channel 4 used to show scandalous foreign films in the 1980s like Themroc and WR: Mysteries of the Organism. After the Daily Mail squealed blue murder that Channel 4 was corrupting the nation, the station decided to put little triangles of the screen so the UK viewers would know it was a film with adult material. Of course, this happened to lure even more viewers into watching foreign smut on Channel 4 and the triangle was a come on for those who wanted naughtiness.

The NC-17 rating is a bit like Channel 4′s old triangle on the screen. You know you are getting la creme de la creme of sauciness. In this article I am writing about movies that currently hold an NC-17 certificate and did not resort to cutting out footage for an R rating. The ones that stayed true.

10. La Grande Bouffe (1973)

A Franco-Italian movie starring some of the biggest and most respected Continental stars such as Marcello Mastroianni, Michel Piccoli, Ugo Tognazzi and Phillipe Noiret. These four actors play four jaded men who no longer enjoy life and hole themselves up in a large house to commit suicide by eating, drinking and shagging themselves to death. Various women pass through the house, including two young prostitutes who are sickened by the group’s excesses and flee, and a buxom young school teacher called Andrea, who can tune into what the men are trying to achieve and tacitly agrees with them to be there to the bitter end.
I have always thought that director Marco Ferreri is woefully under-appreciated in the arena of European art house cinema. La Grande Bouffe remains his best known and celebrated film. It is full of scatology, toilet humour and sexual excesses. Scenes such as the toilet exploding – spewing forth human excrement, and Andrea masturbating one of the four men until he dies, have earned it an NC-17 certificate. A cult badge of extreme naughtiness for cinema’s Francophiles.

9. Blue Is The Warmest Colour (2013)

The plot for this one is short and sweet. A young girl called Adele is infatuated with a female student called Emma who has blue hair. They begin a romance and much explicit lesbian sex ensues (although it must be said here that it is simulated and involves fake vaginal areas).
Rapturously received at Cannes where it swept the board, Blue is the Warmest Colour is very highly rated by film critics who found it intense and absorbing, passionate and well acted. The graphic lesbian sex scenes, which far exceed any hitherto portrayal of lesbianism, shocked some critics who recommended cuts to the film. In August 2013, the film was passed with no cuts as an NC-17 rated movie. Apparently it is receiving the prestigious Criterion treatment, and it will be released in early 2014.

8. Arabian Nights (1974)

Part of Pasolini’s ‘Trilogy of Life’ along with The Decameron and The Canterbury Tales, which were also rated NC-17, Arabian Nights is a bawdy and earthy film romp with plenty of frank sexual encounters.
The basic film concerns Nur-e-Din, an innocent young man who falls in love with a slave girl called Zumurrud who is abducted by accident after she chooses Nur-e-Din as her master. Zumurrud manages to escape and disguises herself as a man. She enters a mysterious land where she becomes King. The film follows Nur-e-Din’s attempts to track her down in which he gets into several erotic and also slapstick scenarios. Woven into the narrative are the tales of several travellers.
With abundant nudity and sex, Arabian Nights really is an erotic masterpiece. It is hard to make such a sexual film without it coming over as excessive, gratuitous or sleazy, but Pasolini deftly handles the material and the erotic scenes in the movie are filmed in a highly naturalistic way and there is no sensationalism. The film is poetic and beautiful, it is difficult to think of a movie director other than Pasolini making such a film. Pasolini brought both a realism, and simultaneously, a mystery to the film that makes it intoxicating viewing. At 130 minutes, the time flies by rather than dragging. Due to all of the sexual jiggery pokery, Arabian Nights was originally rated X in 1980 and today holds an NC-17.

7. Beyond The Valley Of The Dolls (1970)

Kelly, Casey and Petronella perform in a band called The Kelly Affair managed by Harris, Kelly’s boyfriend. They set off to Los Angeles to find Kelly’s aunt Susan who has just inherited a fortune. Susan is pleased to see them and promises Kelly one third of her fortune (although her sleazy lawyer isn’t happy with this). Susan introduces the girls to Z Man, a record producer, and when he hears them play, he is so impressed he renames them The Carrie Nations and promises them great success.
Kelly drifts away from Harris and has an affair with a hustler called Lance who has his radar set firmly on her inheritance. Harris descends into drug and alcohol abuse and impregnates Casey after a one night stand. Lance beats up Harris and Kelly dumps him. Casey, distraught at having an abortion, gets into a lesbian relationship with a fashion designer named Roxanne. Petronella gets into a love triangle.
Despite their torpid private lives, the Carrie Nations continue to tour and make records. Harris attempts suicide but it leaves him paraplegic. Z Man invites some of the leading characters to a drugs fuelled psychedelic party where it is revealed that he is a woman in drag. He tries to seduce Lance but is rejected, Z Man then goes crazy – killing the party goers. A desperate call from Casey to Kelly sends the rest of the gang to Z Man’s place where they subdue him after a wild melee. The ending of the film is deeply cheesy but fits in with the tone of the movie.
With a script written by Roger Ebert, of all people, Beyond the Valley of the Dolls was Meyer’s big studio film – financed by Fox – who were expecting a sequel to the syrupy Valley of the Dolls, and when they saw the film they didn’t know what to do with it. Ebert and Meyer had created a wild and crazy film which they wanted to be an over the top melodrama, a comedy, a satire on Hollywood, a skin picture, a violent exploitation movie and also a vessel for moralising.
One thing Meyer really loved was getting on his soapbox and moralising in his films, which comes across in his movies as corny rather than didactic. Beyond The Valley of the Dolls is an assault on the viewer because it is absolutely crammed to the rafters with action, Meyer is firing at his usual all guns blazing pace and you might have to watch Beyond the Valley of the Dolls a couple of times to appreciate its humour and bizarre plot twists. It is a fabulously inventive and entertaining film which is unlike anything you will ever see again. Inimitable Russ Meyer.
Upon its release the MPAA classified it as X. It was given an NC-17 rating in 1990. This has been proven to be no handicap for the film as it has made $40 million worldwide since its release from a $900,000 budget. Growing in critical stature all the time, Beyond the Valley of the Dolls has a huge cult following which it highly deserves.

6. Caligula (1979)

Basically a biopic of the titular Caligula – portraying his time as Emperor of Rome – his rise to the top, his insane regime, and his downfall.
As a subject for a biopic, Caligula is juicy material but director Tinto Brass and producer Bob Guccione (owner of Penthouse magazine) pile on the juice so much, the film is positively saturated. It is a surreal sight indeed to watch actors of the highest calibre – Peter O’Toole, Sir John Gielgud, Helen Mirren and Malcolm McDowell – have their performances over shadowed by all of the deviant sex going on around them – some of which is unsimulated. To spice up the film when he realised it was crap, Bob Guccione shot hardcore inserts for the film, and depending on what version you get, you may or may not receive a full on sex fest.
Literary heavyweight Gore Vidal wrote the script, but was so aghast at what he saw in the film, he quickly distanced himself from it. In fact, almost everyone who had something to do with the film absolved themselves from it. Personally, I am not impressed by McDowell’s portrayal of Caligula – it is too hammy. For a truly shocking portrayal of Caligula, watch John Hurt’s portrayal of the mad Emperor in the BBC drama I, Claudius. To this day, just the sight of John Hurt anywhere sends a shiver down my spine.
Caligula features sex of all kinds – incest, heterosexual sex, homosexual sex, rape, oral sex, bestiality. With that kind of on screen perviness, it is little wonder that the unexpurgated version is rated NC-17. With an ignominious and torturous production history, the actress who played Messalina sued Guccione for sexual harassment and was awarded a fortune. Would I recommend that you watch Caligula? Unreservedly yes, it is a glorious mess of a film that everyone should watch at least once. At least.

5. Henry And June (1990)

Set in 1930s Paris, the doyenne of female erotic literature – Anaïs Nin is married to Hugo but is somewhat bored. She meets Henry Miller – another erotic literature writer who is working on his first book. She is introduced to the bohemian lifestyle of Henry and his wife June. Nin is sexually attracted to the two of them and embarks upon affairs with them both. She helps Miller publish his first novel but acts as a catalyst for the estrangement of the Millers. She goes back to hubby Hugo.
The first film to receive the new NC-17 rating from the MPAA, director Phillipe Kaufman paints an affectionate and vivid portrait of the bohemian world of 1930s France. He is aided by the strength of the acting from the cast and the film is a delight which qualifies as art house erotica. Uma Thurman as June particularly shines in her role as June, she gets plenty of opportunity to deftly chew the scenery.
I believe that if this film was made in 2013, it would receive an R rating. Okay the sex scenes are raunchy but they don’t contain anywhere near the explicitness of Romance. I recommend the film as it is intriguing and sensual, it is not some sort of perverted sexual free for all that NC-17 suggests

4. Story Of O (1975)

O, a fashion photographer is taken by her lover René to a place where she is initiated into the world of sadomasochism. She is ‘taught’ to be supine and available for any kind of sexual penetration (oral, vaginal and anal) at any time. She is also branded. René passes O along to be the sex servant for Sir Stephen. She seduces a woman called Jacqueline and then she is sent by Sir Stephen to a house in the country.
At this house O is branded and has piercings put into her genitalia by Sir Stephen. A bit of kinky sex follows and Jacqueline is sent away to be trained as an SM sex toy for René. O asks Sir Stephen if he would go through a similar initiation as her to prove his unconditional love for her. Sir Stephen says he probably would so O grabs his hand and brands him with her cigarette – an O.
Adapted from the controversial novel of the same name by Pauline Reage, who was trying to prove that a woman could write like the Marquis de Sade. She failed miserably, unable to hit the heights of vicious sadism de Sade extrapolated, and being a typical woman, she had to introduce romance into the equation which de Sade would have balked at.
Nevertheless, it is a good novel and the film adaptation has been rendered tastefully kinky by capable soft core Euro smut director – Just Jaecklin. It is still extreme enough to warrant an NC-17 rating. Whilst the activities O participates in are consensual and she allows herself to be tortured and humiliated for the love of a man, censors and rating boards just inherently dislike SM material due to the issue of sexualised violence and consent. A difficult conundrum for the MPAA to work out – so they just label it NC-17. But nowhere near as egregious as Salo – a truly Sadean movie.

3. Showgirls (1995)

Showgirls was the first NC-17 film to achieve a widespread theatrical release. It features the adventures of Nomi – an erstwhile juvenile delinquent who arrives in Las Vegas determined to be a mega star Showgirl. She gets to the height of Showgirl in a dodgy way – shagging the entertainment director Zack (the proverbial casting couch for wannabe showgirls) and deliberately inducing chief Showgirl Cristal’s accident so she can snatch her role.
An episode with a friend who gets brutally raped by her idol singer, wakes Nomi up to all of the corruption in Vegas – corruption that she has taken place in. She turns vigilante to kick the crap out of the man who raped her friend and it is a case then of leaving Las Vegas.
Almost universally derided by the critics (Roger Ebert made a slight concession when he said there were worse films), critical opinion has not stopped Showgirls from being a cult hit on VHS and DVD. It is gloriously campy and silly, but compulsive watching, with plenty of quotable lines and laughter at the tacky sex that unfolds on screen. A lot of this is quite explicit, hence the NC-17 rating. An R rated version was released for rental that chopped off three minutes of action, but I would avoid this and stick with the version integrale. Great fun if you are in a salubrious frame of mind.

2. In The Realm Of The Senses (1976)

Tokyo 1936 – Japan society is becoming increasingly militarised. Sada Abe (a hotel maid) and Kichizo Ishida (the hotel owner) embark upon an obsessive love affair which includes graphic unsimulated sex, more graphic sex and a bit more graphic sex. Eventually they get carried away with all of this sex and Sada strangles Kichizo to death while she is having sex with him in an act of erotic asphyxiation. Once he is dead, Sada chops off his willy and scribbles in blood on his chest. Fin.
It is pretty easy to see why In the Realm of the Senses incurred an NC-17 rating. Unsimulated sex generally doesn’t go down well with the authorities – and acts like the main actress putting an egg up her vagina for real and serving it up to her co star after it has plopped out, are distinctly censor bating. It wasn’t just the USA that took umbrage with the film. It caused censors all over the world to get their knickers in a knot over whether it should be censored, banned, shown only in private clubs. Still provocative and controversial by today’s standards, In the Realm of the Senses is not an easy film to classify – is it art or just glorified pornography? Why not watch for yourself and pretend you are a censor? That’s a fun activity with this film.

1. Last Tango In Paris (1972)

The tale of an American man in Paris called Paul whose wife has just committed suicide in an extremely bloody way, he meets a young woman called Jeanne and they begin a highly charged sexual relationship. The relationship is based upon anonymity – they don’t know each other’s names or personal histories. However, after a while Paul wants to end the anonymity and he tells Jeanne all about himself. She is repelled by this and tries to get away from Paul but he follows her to her apartment and she shoots him.
The film doesn’t actually sound that cheery, but it is enlivened by several scenes. Paul (played with full conviction by Marlon Brando) calls his dead wife a ‘pig f**ker’, initiates Jeanne (Maria Schneider) into the world of buggery aided by some butter and gets her to stick her finger up his anus while they are having sex. He also exhorts her to have sex with a pig in his memory.
Last Tango in Paris is a monumental film. It set new heights of sexual explicitness in cinema, ushering in a new liberal age of sexual frankness. It does, however, stand alone as a brilliant film – dark and moody, sexy and profound. Director Bertolucci narrowly escaped an obscenity charge in his native Italy. Originally an X certificate, the film was rated R in 1981 with a heavily edited version with all the fun removed from the film. Ultimately re-rated and handed an NC-17 certificate in 1997, Last Tango in Paris had similar bans and harsh ratings meted out to it worldwide.

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