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Unsimulated Sex - Wikipedia
Unsimulated Sex - Wikipedia
Unsimulated sex
In the film industry, unsimulated sex is the presentation of sex scenes in which actors genuinely
perform the depicted sex acts, rather than simulating them. Although it is ubiquitous in films intended
as pornographic, it is very uncommon in other films.[1][2] At one time in the United States, such scenes
were restricted by law and self-imposed industry standards such as the Motion Picture Production
Code.[3] Films showing explicit sexual activity were confined to privately distributed underground
films, such as stag films or "porn loops". In the 1960s, social attitudes about sex began to shift, and
sexually explicit films were decriminalized in many countries.[4]
With movies such as Blue Movie by Andy Warhol, mainstream movies began pushing boundaries in
terms of what was presented on screen.[5] Notable examples include two of the eight Bedside-
films and the six Zodiac-films from the 1970s, all of which were produced in Denmark and had many
pornographic sex scenes, but were nevertheless considered mainstream films, all having mainstream
casts and crews, and premiering in mainstream cinemas.[6] The last of these films, Agent 69 Jensen i
Skyttens tegn, was made in 1978. From the end of the 1970s until the late 1990s it was rare to see
hardcore scenes in mainstream cinema, but this changed with the success of Lars von Trier's The
Idiots (1998), which heralded a wave of art-house films with explicit content,[7][8] such
as Romance (1999), Baise-moi (2000), Intimacy (2001), Vincent Gallo's The Brown Bunny (2003),
and Michael Winterbottom's 9 Songs (2004). Some simulated sex scenes are sufficiently realistic that
critics mistakenly believe that they are real, such as the cunnilingus scene in the 2006 film Red
Road.[9]
The idea of 'simulation' also relates to questions about acting, unnecessarily denigrating pornography,
and is too vague about what exactly is being simulated. For instance, while an actor's penis may enter
an actress's vagina on a porn set, this does not mean that each of their actions, emotions, noises, and
so on, are not performed in quite a different way to how they would have sex in the privacy of their
own home: "it is both real—something that actually happens between people—and a fake, staged for
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the camera and sound equipment. Neither the directors of pornography nor the directors of hard-core
art, from Warhol forward, document “real sex” in the sense of what people do alone, in private."[11] As
such, to describe the sex on a porn set as 'real' or 'unsimulated' is to focus on just one small element of
the scene (here, penetration) and omits all other parts of the performance. Who is to say what is real
or simulated? On the other hand, viewers can all pause a film and agree upon what is visible.
Rationales
In an interview after the release of his film Love (2015), when asked why audiences want to see
realistic portrayals of sex, Gaspar Noé suggested it's really about power structures: "In most societies
whether they're western or not, people want to control the sexual behaviour or to organise it in a
precise context. Sex is like a danger zone. Sometimes class barriers fall down and it scares a lot of
people. It's about states controlling their systems, like religion."[14]
James Franco has cited "aesthetics and personal reasons" for why he worked on Interior. Leather
Bar. (2013):
I've been a part of professional mainstream film for 17 years, and then in addition to that, I
am a citizen of the United States and, you know, I am engaged with its mainstream culture,
but I've also done a fair amount of studying queer theory or queer cinema classes. So I’ve
found that my place, one thing that my position allows, is a way to bring these two worlds
together and also question the rules of mainstream cinema or mainstream culture, to
examine why things are made the way that they are, why some subject matter is presented
in one way and not another, and how those things shape us as people, how it shapes our
beliefs, how it shapes the way that we live. If we can question those things or introduce
alternative ways of viewing lifestyles or whatever it might be in mainstream cinema
or indie cinema or art cinema, I think it can only be for the good. If other voices or other
kinds of discussions or storylines or narratives from different perspectives are introduced,
it will only make us richer as a people.[15]
Production issues
A few directors have openly discussed or written about the technical problems inherent in filming of
actual sexual acts, particularly with actors or actresses who have never performed such acts on film. In
an interview with BlackBook, Gaspar Noé acknowledges that it is difficult for several reasons: an actor
may not be able to get or maintain an erection in the presence of even a small crew, or on camera;
either of the participants may have a current partner. "So I've decided that the best way to show real
sex is to cast two single people who used to be a couple."[16]
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Examples of this type of hybrid release include Café Flesh (1982)—the R-rated version of this science
fiction porn film was released to mainstream cinemas;[17] Stocks and Blondes (1984), originally
available as Wanda Whips Wall Street;[18] and Droid (1988), originally released as Cabaret Sin in
1987.
In films
The following mainstream films have scenes with verified real sexual activity, meaning actors or
actresses are filmed engaging in actual coitus or performing related sexual acts such
as fellatio and cunnilingus. This list does not include documentaries about pornography, which may
contain unsimulated sexual activity.
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Blue Rita (Le Cabaret des There are at least two versions of this film German
filles perverses) by Jess Franco, Director's Cut (released
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In music videos
Title Year Notes Language
See also
Exploitation film
Art house film
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References
General references
McNair, Brian. (2013) Porno? Chic!: how pornography changed the world and made it a better
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Coleman, Lindsay. (ed.) (2016) Sex and Storytelling in Modern Cinema: Explicit Sex, Performance
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Frey, Mattias. (2016) Extreme Cinema: The Transgressive Rhetoric of Today’s Art Film Culture.
London: Rutgers University Press. DOI: https://doi.org/10.36019/9780813576527
Kenny, Oliver. (2022) ‘Breaking Conventions? Political Ideology of Films With Explicit Sex’, Open
Screens, 5(1), pp. 1–21. https://doi.org/10.16995/OS.8008.
Krzywinska, Tanya. (2006) Sex and the cinema. London: Wallflower.
Lewis, Jon. (2009) ‘Real sex: aesthetics and economics of art-house porn’, Jump Cut: A Review of
Contemporary Media, 51. https://www.ejumpcut.org/archive/jc51.2009/LewisRealsex/text.html
Villadsen, Ebbe (2005): Danish Erotic Film Classics.
Williams, Linda. (2008) Screening sex. Durham, NC: Duke University Press.* Williams, Linda Ruth
(2005): The Erotic Thriller in Contemporary Cinema. Indiana University Press. ISBN 0-253-34713-
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