Let’s Talk About Sex! Our saucy, seductive and sensational collection of movies. From a ripe peach on an Italian summer day and a dark, seductive take on Dangerous Liaisons, these movies explore both delightful, diverse and deadly desire.
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TEETH (2007)
By Daisy Grace Greetham
Two things can be true at once. A film can be both obscenely, laughably gory and nuanced, a contradiction often blatantly overlooked in Mitchell Lichtenstein’s body-horror debut, Teeth (2007). Part coming-of-age, and part thriller, Teeth follows Dawn, an avid ambassador of abstinence, as she struggles with desire, the audacity of men, and what lies between her legs: vagina dentata. A stranger to her own body, Dawn’s modesty is soon replaced with rage as she is continuously violated by predators-turned-prey, and she realises the power she holds. Jess Weixler plays Dawn perfectly: earnest, unassuming, and genuinely sweet, we see a girl once hopeful, grappling with things she can barely comprehend, betrayed by men and by her own body.
From the very beginning, it’s a satire on purity culture and the evangelical mis-education of America’s youth. Dawn’s belief that ‘love is worth waiting for’ is challenged by her teenage body and the arrival of a new addition to her Christian Chastity movement, Tobey (Hale Appleman). The irony of preaching the dangers of premarital sex, while possessing what she does, is played for sharp comedic value, but also functions well as a message about the harm of regressive ‘sex’ education. The cruel irony deepens when the purity she preaches is taken from her by Tobey, against her will. As the film unfolds, it becomes a sharp commentary on male entitlement, as she continues to face sexual violation in new forms.
Despite its intriguing blend of genres and its balanced execution, Teeth has not reached the same cult status as its ‘girl-horror’ counterparts, such as Jennifer’s Body (2009) or Ginger Snaps (2000). This is partly due to its subject matter, which isn’t easy to sell to a wide audience, and several shots of severed penises don’t exactly help.
When it was released in early 2008, it barely recovered its $2 million budget and has continued to fly under the radar ever since, despite a relatively positive critical response. It has been overlooked as a female-focused body-horror piece in an age when these stories are more widely consumed, and, for its sharp convergence of themes rather than its crude humour, it rightfully belongs in the black comedy and female rage canon.
NIGHT STAGE (2025)
By Neil Baker
For their third picture, Night Stage, writer-directors Filipe Matzembacher and Marcio Reolon (Hard Paint) explore the stage that gay men find themselves performing on, a stage that occasionally allows for authenticity but often imposes numerous restrictions, especially when gay men are in the public eye.
Set in Porto Alegre, Brazil, we meet a promising young theatre actor and dancer, Matias (Gabriel Faryas), and his artistic rival and flatmate, Fabio (Henrique Barreira). Both young men are ambitious, and both know their new theatre production could open doors to new levels of fame. After all, a new TV series is currently casting, one that could propel whoever takes the lead role to national recognition. But one thing stands in Matias’ way; he is an out gay man, and the producers are looking for someone heterosexual and rugged, something his flatmate and theatrical sparring partner, Fabio, offers in spades. However, a clandestine late-night hookup is about to change everything for Matias.
When Matias meets the mysterious Rafael (Cirillo Luna), he is unaware of who Rafael is. He is also not prepared for their hot, steamy encounter in a city-centre mansion, due for demolition, to be the first of many. Rafael is discreet, edgy and always horny, their encounters full of eroticism and risk, and it’s not long before Matias discovers that Rafael is a closeted politician running for mayor, with some shady financial backers. At this point, you might think Matias would opt to run, but Rafael has the keys to his success, and that’s worth the price of an affair that sees both men fall into a risky game of public sex and uncontrolled desire, which will see their lives and the lives of everyone surrounding them drawn into a web of secrecy, darkness, lies and deceit.
PILLION (2025)
By Neil Baker
Many modern gay movies and TV shows would like you to believe that gay sex and romance are all very vanilla. They portray gay love, sex and relationships through an accepted heterosexual lens where monogamy sits at the heart of relationships, sex is gentle and confined to the privacy of a double bed, and love is twee. However, let me tell you the truth, gay sex and dating are anything but vanilla, and anyone out there who has ever used a hookup app will know exactly what I mean. There are doms and subs, daddies’ and chubby-chasers, geeks, jocks and twinks, otters and bears.
The world of gay sex and relationships is, and always has been, a playing field of desires, tastes, likes and dislikes that can prove somewhat overwhelming at first glance. Of course, many movies have flirted with this diverse playing field over the years. Still, none have “blown the bloody doors off” with such humour, heart, and horniness as Harry Lighton’s spunky feature directorial debut, Pillion, adapted from Adam Mars-Jones’ novel ‘Box Hill’.
For Colin, played by the fabulous Harry Melling, love and sex have long proved to be a distant dream. It’s not that the traffic warden hasn’t had dates; his terminally ill mum, Peggy (Lesley Sharp), has been studious in setting him up with prospective men, and his dad, Pete (Douglas Hodge), who Colin performs with in a barbershop quartet, also wants to see him settle down, find a man and move out of the family home. However, for quiet Colin, no man ever quite meets his needs and desires. He wants a man—someone rugged, masculine in every sense of the word, and someone dominant. Enter, Ray (Alexander Skarsgård).
If all this sounds rather hot and heavy, at times it is, as Lighton swings open the closet door on gay sub/dom relationships and sex. However, in Pillion, the heat is matched with a wry sense of humour you could only find in a British rom-com. Pillion is serio-comical, sexual, saucy, and scintillating as Colin and Ray’s relationship unfolds, with both men facing transformative moments along the way.
Y TU MAMÁ TAMBIÉN (2001)
By Neil Baker
Our lives are full of beginnings, endings and transitions; this is never truer than in adolescence, a period consumed by our own needs, even when we think we are considering others’ needs. All teenagers sit in a perpetual state of change as they attempt to discover themselves in an ocean of new experiences, their friendships and loyalties in flux as they define their identities. In the brief and hormonal heat of our teens, everything seems new, even when it’s clear things are changing. Released in 2001, Y Tu Mamá También ushered in a new era for Mexican cinema by taking us on a voyage of self-discovery that quickly earned cult status.
Julio (Gael García Bernal) and Tenoch (Diego Luna) have been friends since childhood. Tenoch’s life is firmly rooted in middle-class abundance and freedom, while Julio comes from a far less privileged background. However, while the boys understand this class divide, it has never defined their friendship. But as college and adult life come into view, the choices available to both boys will ultimately pull them apart, even if they are not yet aware that their friendship sits on a precipice.
As the summer begins, our two perpetually horny teens find themselves free of their girlfriends and in need of adventure. When Luisa (Maribel Verdú) meets Julio and Tenoch at a wedding, she views the boys as bold, entertaining, and immature young men, with their attempt to woo her marked by desperation and misplaced, humorous bravado. However, just a few days later, Luisa’s life changes abruptly, leading her to call the boys and suggest they embark on the trip proposed at the wedding. Of course, Julio and Tenoch never planned to go, but led by their penises, they hatch a plan.
Dovetailing the classic coming-of-age movie with a road-trip comedy-drama and a teen sex comedy, Y Tu Mamá También explores teenage masculinity, social change, and escape. It lulls you into a false sense of security as the teen sex comedy of the opening twenty minutes morphs into a series of discussions on meetings, partings, sexuality, friendship and transformation as Julio, Tenoch, and Luisa hit the road.
Let’s Talk About Sex! Movies
THE ROCKY HORROR PICTURE SHOW (1975)
By Neil Baker
There’s a light over at the Frankenstein place, and it’s beckoning you into the wicked, wonderful and always wild world of Richard O’Brien’s The Rocky Horror Picture Show, a stage show and movie that, fifty years on, continues to thrill. So come along. The Master doesn’t like to be kept waiting.
Everyone who hasn’t spent their life under a rock has a favourite moment, line and song from The Rocky Horror Picture Show, whether it be Janet embracing her long-repressed desires as she sings, “Touch-a touch-a touch-a touch me. I wanna be dirty! Or Dr Frank-N-Furter throwing off his cloak and belting out “I’m just a sweet transvestite, from Transsexual Transylvania.” Every minute, every tune and every character sears a place in the memory, but how did The Rocky Horror Picture Show become the ultimate immersive theatrical experience? Damn it, Janet! We need answers!
Well, in a nutshell, Rocky Horror defies the sexual shame we are trained to feel from a young age, offering us a liberating, sexually free and always strange journey into what it means to be human, even if our guide Dr Frank-N-Furter isn’t.
The Rocky Horror Picture Show encourages us to break the chains of repression and oppression that restrict us and to embrace our freaky side. It shouts, “Don’t dream it, be it,” and in a world where restrictive conservatism is once again on the march, that is a call we should all answer.
For those who are new to Rocky Horror, or those, like me, who have proudly been a part of Frank-N-Furter’s freaky found family for years, Rocky Horror invites you to give yourself over to absolute pleasure.
CALL ME BY YOUR NAME (2017)
By Neil Baker
Luca Guadagnino transformed André Aciman’s words into a visually stunning and emotionally resonant cinematic masterpiece. Like the novel, Call Me by Your Name explores themes of memory, desire, place, and emerging sexuality as Guadagnino bathes Elio and Oliver’s journey in the colours of nature.
In Guadagnino’s luscious garden of teenage longing, fruits, food, and foliage are combined with growing desire, sexuality and love as we relive our most tender experiences through Elio’s eyes. Here, the powerful but dangerous sparks of sex and passion speak to all of us who kept our sexuality hidden during youth through a veil of doubt, fear, excitement, heat, and internal longing. Combine this with Timothée Chalamet’s captivating performance as Elio, and you have a modern masterpiece.
Chalamet’s performance is wrapped in emerging self-identity, emotion, desire, jealousy and excitement as he brings Elio to life through the innermost feelings of a boy on the verge of manhood. A youthful exuberance sits at the heart of Elio’s new self-created Garden of Eden, and here, he attempts to bury his teenage vulnerabilities as he explores Oliver like an ice cube gliding across skin as it melts.
Elio and Oliver’s relationship is genuine, loving and profound for both men as it challenges ’80s societal expectations. But despite its transformative power, like many a summer romance and many gay connections in youth, it is also fluid and fleeting.
Let’s Talk About Sex! Movies
GOOD LUCK TO YOU, LEO GRANDE (2002)
By Neil Baker
I am always nervous when labelling any film ‘a sex comedy’; after all, it’s a sub-genre that has so often failed to explore the complexities of sex and our human need for physical connection. But, maybe, with director Sophie Hyde’s Good Luck to You, Leo Grande, the sex-comedy has finally come of age.
Good Luck to You, Leo Grande is a movie about Nancy (Emma Thompson), who has been denied sexual adventure and finally, in later life, decides it’s time to experience all the things her husband couldn’t give her. But it’s also the story of a young and devilishly handsome sex worker (Leo) and his need to separate his ‘work’ from his emotions as he feeds the needs of others with no thought as to his own needs in the process. It’s a film about finding yourself through physical intimacy and sexuality, regardless of age; a stunning two-person play that reminds us all that, for many of us, sex is a part of who we are, a foundation stone of our outward confidence and inward esteem.
With intimate, tender performances from Emma Thompson and Daryl McCormack, Sophie Hyde’s intelligent, sharp, and emotional sex comedy is a pure delight.
THE BLUE LAGOON (1980)
By Neil Baker
Watching The Blue Lagoon today is just as confusing an experience as it was in 1980. After all, Randal Kleiser’s third major picture as a director couldn’t be more different from the revved engines and leather pants of Grease (1978).
Kleiser’s adaptation of Henry De Vere Stacpoole’s book was not the first, as there were two previous versions in 1923 and 1949. But it was the first attempt to dig into the challenging sexual themes found in Stacpoole’s work. After all, this is the story of two cousins marooned on a desert island as children who grow into young lovers and then become parents. It’s the story of what happens when ‘society’ is absent in the lives of children and adolescents as they develop. But unlike Lord of the Flies, The Blue Lagoon is not interested in themes of violence or control but in the formation of sexuality. It is, therefore, all the more confusing that The Blue Lagoon has the spirit of a live-action Disney movie and the soul of a ’70s soft-core porn flick.
The result is a strange blend of Disney-esque innocence, sex, and clunky dialogue that, while epic in construction, feels utterly confused in delivery. Here, the leads, Christopher Atkins and Brooke Shields, often feel exploited through a modern lens, with their looks and bodies far more important than the story at play. But for many a teen, The Blue Lagoon and its stars were the foundation of their own sexual awakening as a strange survival drama became a VHS essential for a whole generation.
TRULY NAKED (2026)
By Neil Baker
Before the rise of the Internet age, restricted print media, grainy 16mm movies in adult theatres and videos in adult stores provided pornography with a home. Pornography wasn’t hidden from sight, but it was an industry shrouded in secrecy, with little to no access for young people, other than tatty second-hand magazines or bootleg videos traded outside of the school gates. However, in the years since the internet, and particularly since the rise of social media, porn has become far more open, accessible and available to young people. Up until recent government changes requiring age verification in the UK, young people could easily stream pornographic content, and even with verification, many would argue that teenagers have found ways to bypass the restrictions.
Some would argue that this has demystified sex for teenagers and encouraged open discussion; others will argue that for young people in minority groups such as the LGBTQ+ community, it has enabled them to learn about sex. But, for all those arguments, one truth remains: pornography is staged sex that plays to the desires (mainly of men) and creates false notions of what physical intimacy is. So what effect does this have on the developing teenage mind? And what effect has internet porn had on our teenagers’ opinions, expectations and views of sexual intimacy?
It’s a brave director who chooses not only to tackle the questions above, but also to investigate the world of homemade amateur porn through the eyes of two teenagers. It is, therefore, no wonder that Dutch director Muriel d’Ansembourg’s Truly Naked faced years in development before finally securing funding for production. The bravery on display in this unflinching drama, both in direction, cinematography and performances, is abundantly evident from the opening scenes, as we join a pornographic shoot in the bedroom of a small flat.
As the sex reaches its climax, the person behind the camera is revealed to be Alec (Caolán O’Gorman), an introverted and soft-spoken teenager. While the person in front of the camera is revealed to be Alec’s dad, Dylan (Andrew Howard) and his long-time porn partner Lizzie (Alessa Savage).
As the porn shoot ends, it’s time for tea, as Alec considers his first day at a new school in their new seaside home, far away from his and his dad’s previous life in London, just a few months before. For Alec, this seaside town offers another fresh start and another opportunity to attend a school where nobody knows what his dad does. Watching this boy go from instructing and directing a porn shoot to hurriedly eating breakfast, then pulling on his school jumper, and walking into a classroom may be one of the most fascinating and challenging transitions in film I have seen this year.
Alec isn’t your average post-16 student, and he isn’t just Dylan’s son. He is far more mature than the other boys at school. Alec values women and clearly sees himself as understanding of the female experience, but he is nervous and unsure of how to interact with them outside of a porn set. He is a talented photographer, videographer, designer, and editor. Yet he is also still a teenage boy, uncertain of the world around him, and eager for his own first sexual experiences.
For Alec and his dad, pornography is the family business. It is a business founded years ago by Alec’s mum and dad. After her death, Alec would eventually become the producer and camera operator in an extended found family of adult female actors who kept him safe. It’s a father-son relationship many would label as exploitative or even abusive, but in Truly Naked, those simple labels do not apply.
MEN OF HARD SKIN (2019)
By Neil Baker
Argentine director José Celestino Campusano brings us a coming-of-age tale with an added bite in his latest feature, Men of Hard Skin. Campusano wraps his audience in dark and devastating themes of abuse and control as we enter rural Argentina and the demons of church-orchestrated abuse. Ariel (Wall Javier) lives and works on his father’s farm; there, his life is held in limbo as he navigates the villagers’ hatred, love, and abuse. His father believes he can mould Ariel into a traditional ‘masculine’ figure, while the local priest, Omar (Germán Tarantino), abuses Ariel, as he has done ever since the boy was a young altar boy.
Campusano initially explores Ariel’s sexuality and desire as a figurative prison. However, as Ariel’s self-confidence grows, so does his realisation that the community is toxic and damaged as he takes his destiny in hand and defies those surrounding him. Men of Hard Skin treats its subject matter with a detached and normalised style that some may find difficult to swallow.
Campusano bravely and boldly explores themes of sex, abuse and control against a backdrop of community acceptance and lies. This delivery style shines a light on the community’s acceptance of abuse as a cultural norm. At times, this creates a profoundly uncomfortable viewing experience as we witness how religious power and masculine control can breed a culture of abuse that, if not challenged, becomes a part of community culture.
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Let’s Talk About Sex! Movies
SEBASTIAN (2024)
By Neil Baker
Mikko Mäkelä’s stunning film Sebastian offers a thoughtful exploration of Oscar Wilde’s famous quote, “Life imitates art far more than art imitates life,” as it explores sex, intimacy, artistic drive, the exploitation of marginalised voices, and intergenerational gay experience. But it is Mäkelä’s bold conversations on 21st-century sex work that make Sebastian a game-changer.
LGBTQ+ storytelling has often viewed male sex work as an outcome and cause of trauma and abuse. Films have frequently focused on the need to escape sex work rather than the desire to embrace it, and rarely touched upon the world of online apps as a door to sex work for young men. While Camille Vidal-Naquet’s Sauvage demonstrated the critical role of the sex worker for many older, isolated gay men, and Gus Van Sant’s My Own Private Idaho explored the emotional complexity of a profession hidden in the shadows, both also focused on separation and the need to escape. While Mikko Mäkelä doesn’t shy away from reflecting on the risks Max takes, Sebastian is, at its heart, a portrait of artistic growth, the need for an authentic voice and a young man’s choice to embrace sex work.
Following his debut feature, A Moment in the Reeds (2017), Mikko Mäkelä’s Sebastian is bold in its scope and vision. From Mäkelä’s ability to dovetail erotic sex scenes with moments of quiet reflection to his use of colour in reflecting Max’s internal emotions and the contrast between impersonal urban sprawl and the intimate living spaces that hold our deepest secrets, Sebastian is a masterclass in indie filmmaking and a sensory experience that leaves an indelible mark.
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SALÒ OR THE 120 DAYS OF SODOM
By Neil Baker
Not all horror contains supernatural entities, serial killers, or monsters. Some of the most potent gutwrenching horrors explore the human mind and our ability to embrace and enact horrendous violence under a cloak of political belief and ideological control. Salò, or the 120 Days of Sodom, is one of those films, and it remains as unnerving now as it was at its world premiere in 1975. Salò defies simple genre labels, but one thing is for sure: it is not, despite accusations, sadomasochistic pornography. Despite the naked bodies and the sexual acts on display, Pasolini’s film rejects titillation or sexual stimulation by placing us in the role of a predatory voyeur.
In adapting the Marquis de Sade’s 18th-century novel, Pasolini would also draw inspiration from Dante’s Divine Comedy. But, to ensure Salò found a contemporary voice in modern history, Pasolini set his film in the small town of Salò, Italy. It was here, in 1944, that a corrupt interim government took control of the town following Mussolini’s rescue by the Nazis. Here, we meet a group of wealthy aristocrats and loyal party members who choose to imprison a group of the town’s young people for a vile social experiment in sex, torture and control. Opening with the sexual violation of the “Circle of Obsessions” before moving on to the “Circle of Shit” and concluding with the ritualistic torture and slaughter of the “Circle of Blood”, Salò is rooted in the depravities of human behaviour.
Salò was and still is one of the most disturbing movies ever made; it is brutal, shocking and uncomfortable as Pasolini coldly explores our human ability to debase each other in the name of pleasure and commit acts of torture and murder in the name of sport. In Paoslini’s world, all sexualities, all people and all genders have the ability to cause harm, and all are capable of tyranny. Salò is a brutal and challenging exploration of the absence of humanity, the power of political extremism, and the hidden depths of sex and control.
Pasolini was a poet, novelist, filmmaker, Marxist, artist, and a conflicted yet proud gay man; his filmmaking career was marked by stories about religion, sex, isolation, and inclusion, ranging from The Decameron to The Arabian Nights. However, unlike many of his previous works, Salò would offer no light in the darkness as its young characters became mere toys of a vile aristocracy.
Pasolini was himself in a dark place as Salò came into view, having fallen out of love with his previous works; therefore, it is perhaps no wonder that he chose to explore the corruption of power, the dying embers of belief in humanity and God, and the darkest of human behaviours. Throughout, Salò Pasolini forces us to become voyeurs of the unfolding horror, challenging our moral boundaries as we become passive witnesses to the horror unfolding.
ANORA (2024)
By Neil Baker
Hollywood is full of stories about knights in shining armour who whisk women in need of love, care or safety off their feet. These classic stories play to age-old stereotypes of wealthy men arriving in the nick of time to save a girl from poverty, themselves, or society. We know these stories are rooted in sexism, age-old beliefs of men as saviours, and pure fantasy, yet over the years, we have gobbled them up like delicious hors d’oeuvres at a lavish buffet. It’s about time someone upturned the buffet table from which we have been feasting, and that person is Sean Baker with his Palme d’Or-winning Anora.
Baker’s stunning movie shouts “fuck you” at the simple Cinderella stories of the past, delivering an electrifying comedy-drama as real and gritty as its New York setting. Anora is no fairytale or Pretty Woman-esque romantic comedy; it’s an electric tale of sex, transactional love, escape and youthful fantasy vs stark reality.
Like another stunning 2024 film, Sebastian, Sean Baker’s Anora not only explores the world of sex work from a fresh perspective but also joyously takes an axe to the notion of wealthy knights in shining armour. Baker is no stranger to themes and discussions on sex work, from Tangerine to Red Rocket. With Anora, he once again offers us an energetic, wild ride that defies simple genre labels, effortlessly combining comedy with exquisitely crafted, character-driven drama that places those on the margins of society front and centre.
SAUVAGE (2018)
By Neil Baker
Camille Vidal-Naquet’s debut feature is tough, uncompromising, and at times deeply uncomfortable as he explores the world of street hustlers through a series of conversations on sexuality, social isolation, and power. Following a young Leo (Félix Maritaud) as he works the streets of Strasbourg, Vidal-Naquet is not only interested in the physical and emotional toll of prostitution but also its place in our modern world of instant gratification.
Before filming Sauvage, Vidal-Naquet volunteered for many years with a series of charities supporting male street workers. Here, he would engage in daily conversations with the boys and men who sold their bodies on the streets of France. As a result, Sauvage carries an almost documentary-like realism, as the handheld camera follows Leo through a city that is either unable or unwilling to see the world through his eyes.
Leo’s emotional needs are reliant on his peer group, each of whom is struggling with their own inner turmoil. This is a life where drugs are an escape route as weeks and days merge into one. Sauvage may show male prostitution in all its grim reality, but it also isn’t afraid to reflect moments of tenderness as Leo offers a much-needed escape for his clients. Is Sauvage a portrait of a young man in freefall? Or is it an exploration of a tormented soul desperately seeking love? Videl-Naquet leaves that for you to answer.
Let’s Talk About Sex! Movies
WEIRD SCIENCE (1985)
By Neil Baker
The average teenage boy spends at least two years locked in their bedroom, slowly working through a year’s supply of tissues while fantasising about sex. Many of the sexual ideas that swim around the young male mind are based on pure fantasy, and many will never be experienced or enacted in later life.
Weird Science understands the teenage male adolescent mind better than it is given credit for, reminding us all that our teenage dreams are often far more exciting than reality. Gary Wallace (Anthony Michael Hall) and Wyatt Donnelly (Ilan Mitchell-Smith) are on a mission to shed their geek label and harness deep, dark magic, along with a sprinkling of new technology, to create the perfect woman. But sometimes dreams come at a cost when all you really need is a good cuddle.
So why not take a trip back to those innocent days before internet porn and dating apps, days when the mysterious and exciting new world of sex still needed a bit of teenage imagination and creativity.
John Hughes loosely based Weird Science on the pre-Comics Code EC Comics titles of the same name, which also inspired a young Stephen King. But in Hughes‘ world, the horror is replaced by laugh-out-loud comedy as Wallace and Donnelly desperately try to improve their street cred while battling the demands of their erections. Thankfully, it all ends well, as their creation, Lisa, helps the boys find themselves and the confidence they have long desired.
CRUEL INTENTIONS (1999)
By Neil Baker
Cruel Intentions would give a late-90s teen audience a dark, twisted, modern take on Dangerous Liaisons. Here, the Vicomte de Valmont and Marquise de Merteuil were transformed into two privileged Manhattan step-siblings, Sebastian (Ryan Phillippe) and Kathryn (Sarah Michelle Gellar). Following a salacious bet involving a car and anal sex, Sebastian and Katherine launch a deadly sexual game involving a new girl in town, Annette Hargrove (Reese Witherspoon) and the wide-eyed Cecile Caldwell (Selma Blair). Cruel Intentions is a sordid tale of wealth, manipulation, sex and control that has never been equalled or matched in its Machiavellian teenage creativity.
By the late ’90s, filmmakers were joyously pushing the boundaries of what was deemed acceptable in teen filmmaking and storytelling. Cruel Intentions is a prime example of this newfound bravery. It’s a movie a whole generation slyly watched while their parents were out, but more than that, it’s a dark, wicked and highly sexual teenage tale that would redefine the boundaries of the teen movie.
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