Yet, numerous films out there use erotica and erotic plots to tell a very human story. Sensualism, sensation, power plays, and love are capable of telling a story like no other plot device could; the following 20 movies represent some of the highest achievements of the genre across cultures and decades. Whether they’re surreal erotic odysseys, tender coming-of-age romances, or provocative boundary pushers, these are the 20 best erotic movies of all time.
25
‘9 1/2 Weeks’ (1986)
9 1⁄2 Weeks captures that signature, iconic ’80s heat and erotic obsession. The movie was based on the memoir of the same name, penned by Ingeborg Day under the pseudonym Elizabeth McNeill. It’s a film about control, sadomasochism, and power plays, and it’s not the easiest thing to endure—but it depicts these types of relationship dynamics and the escalation of force, when one partner is more dominant than the other. Kim Basinger and Mickey Rourke star, and Adrian Lyne directed the film; the three were, apparently, constantly at odds, which Rourke considered essential for the film’s uneasy atmosphere.
9 1⁄2 Weeks follows gallery assistant, Elizabeth (Basinger), who meets John (Rourke), a mysterious Wall Street broker, and begins an affair with him. Their relationship turns into a BDSM power play, with John becoming increasingly controlling and violent; Elizabeth, at first, leans into it, but her psyche suffers. The book has a darker ending than the film, but both are quite similar in tone and message. 9 1⁄2 Weeks is a hypnotic erotic thriller that’s probably the most famous and mainstream of the bunch.
24
‘Last Tango in Paris’ (1972)
Bernardo Bertolucci‘s uncomfortable and uncompromising erotic drama is one of the best in the game, but it is highly controversial due to Maria Schneider’s recounting of behind-the-scenes events and the sexually graphic scenes. The scene where Marlon Brando’s character sexually violates Schneider’s character is fake, but the approach to it wasn’t disclosed to Schneider, and she still felt violated and disturbed. The scene itself is graphic and unsettling, with the film portraying a power play, the need for control, and the liberation of a woman from a relationship built on her victimhood.
Last Tango in Paris follows an American in Paris, widower Paul (Brando), who meets 20-year-old Jeanne (Schneider) while they’re both looking to buy the same apartment. Agreeing not to name names or give out personal information, Paul and Jeanne begin a sexual relationship defined by grief and anger; with Jeanne losing sight of herself and Paul losing control, the emotional warfare makes the movie and the sentiment behind it feel a lot more vulnerable than seductive.
23
‘Unfaithful’ (2002)
Unfaithful was directed by Adrian Lyne, and it distinguishes itself from traditional adultery dramas by refusing to provide simple explanations for why its female protagonist strays. She loves her husband, adores her child, and has no underlying issues with her marriage; Lyne didn’t want to make her simply cheat because of a dysfunctional marriage, but wanted to give her a challenge she found difficult to overcome, being led by a life of danger, secrecy, and sensuality. He demonstrates his mastery of using sexuality to shape the mood of a story: the first lovemaking scene alone conveys the combination of arousal and nervousness with extraordinary power, depicting how desire can destabilize even the most stable life.
Unfaithful follows Connie (Diane Lane), a suburban wife who lives a seemingly idyllic life with her devoted husband Edward (Richard Gere) and young son. On a windy day in Manhattan, Connie stumbles into Paul (Olivier Martinez), an attractive French book dealer, igniting an affair marked by raw physical passion. As Connie becomes obsessed with the affair, she becomes careless, forgetting to pick up her son, lying to her husband, and eventually setting off a chain of events that leads to tragedy. Lane’s performance is widely regarded as her finest work, which is good for her, since she spoke about how much she struggled to get comfortable with the demands of the erotic scenes with Martinez. Unfaithful is a thrilling, sensual film you won’t easily forget.
22
‘Wild Things’ (1998)
Image via Columbia Pictures
Wild Things is one of the most commercially known erotic thrillers, and while it’s not a critically acclaimed masterpiece, it doesn’t really have to be to earn a spot among the best. Sometimes, it’s all about the campiness and the wild twists and turns, which take lust as the ultimate weapon of manipulation and turn Wild Things into a highly rewatchable erotic thriller. Some critics and analysts found it to have similar themes to several Greek tragedies, which is cool, as we can now defend Wild Things as a serious film.
Wild Things follows Kelly (Denise Richards) and Suzie (Neve Campbell), two high school friends who accuse their school’s guidance counselor, Sam (Matt Dillon), of sexually assaulting them. Sam hires a lawyer to defend himself from the allegations, while detective Ray Duquette (Kevin Bacon) suspects foul play in the situation. The scheming, the secrets, and the sexual tension are unmatched; Wild Things is a quintessential ’90s thriller that wields sex as the greatest tool for deception.
21
‘Stranger by the Lake’ (2013)
Image via Les Films du Losange
An incredibly interesting erotic thriller, Stranger by the Lake combines thrills, sensuality, and mystery; it’s danger and desire weaving together in a story that asks its protagonist to reconsider his own boundaries, leaving viewers to wonder whether they’d be any better in a situation like that. Stranger by the Lake is widely acclaimed and has won the Queer Palm; critics found it to be a sexy, elegant thriller, and though chances are high it’s not a widely known film, it’s still one of the best erotic movies ever made.
Stranger by the Lake follows Franck (Pierre Deladonchamps), a man who visits a stunning nude beach and meets Henri (Patrick d’Assumçao), an older man trying to get over a breakup, and Michel (Christophe Paou), a handsome younger man he immediately finds attractive. Franck and Michel develop a relationship, but Henri notices Michel’s behavior is a lot more aggressive than he shows. He warns Franck, but it seems Franck isn’t willing to just switch and give up on Michel. Stranger by the Lake has been called “Hitchcockian” in suspense, and it’s a simple story with a beautifully tuned atmosphere, just enough to be quietly ominous.
20
‘Secretary’ (2002)
Maggie Gyllenhaal‘s Secretary is a tender, kinky moment of empowerment and joy, and it’s among the few erotic films that allow sexual reinvention and awakening to feel positive. Many movies that use erotica, sex, and lust as their drivers often depict them as tools for power and manipulation; in Secretary, these things pave the way to emotional freedom and self-definition. Director Steven Shainberg and his associates worked on making the set feel cozy, using natural materials for decor, and treading lightly with themes of BDSM. They wanted to make a point of such relationships’ potential to end happily, too.
Secretary follows the shy and socially awkward Lee (Gyllenhaal) getting a job as a secretary for an eccentric lawyer, E. Edward Grey (James Spader). After some time, their relationship evolves into a power play between boss and secretary, and they discover romance through a mutually enjoyed BDSM relationship. Secretary is an erotic romantic comedy, and Gyllenhaal carries the film with her comedic flair, versatility, and talent; Spader, too, has never looked more appealing than here.
19
‘The Dreamers’ (2003)
Another Bertolucci on the list, again one that was fueled by some personal fantasies like Last Tango, although The Dreamers was based on a novel called The Holy Innocents by Gilbert Adair (who also wrote the movie’s script). It’s an homage to the French New Wave and cinema, wrapped in a story about sexual and political liberation, desire, and the gripes of youth. Eva Green stuns in one of her first major film roles; she’s joined by Louis Garrell and Michael Pitt, forming a hypnotizing trio of beautiful people.
The Dreamers is set in 1968 and follows an American student, Matthew (Pitt), who travels to Paris to study French; soon, he meets twins Théo (Garrell) and Isabelle (Green), free-spirited children of artistic parents, inclined to participate in the protests happening around town. With Matthew, Théo, and Isabelle growing closer, Matthew notices their relationship to be unlike anything he’s seen. The movie very obviously loves cinema; the dialogue between the characters often revolves around film. Green was shocked when she saw the final cut, feeling like the movie shows a lot more than she anticipated; The Dreamers is, in that nature, very Bertolucci-like (though he refused to include scenes between Matthew and Théo that the book features).
18
‘In the Realm of the Senses’ (1976)
A film that pushes erotic obsession further than most is In the Realm of the Senses. It’s a fearless exploration of eroticism by Nagisa Ōshima, and a retelling of a true story of sex worker Sada Abe, who killed her lover, severed his private parts, and carried them around with her so he could “be with her forever.” Abe was arrested and charged, even writing a memoir after her release from prison. In the Realm of the Senses tells the story slightly differently, but it’s very sexual, and even romantic in some ways.
In the Realm of the Senses follows Sada Abe (Eiko Matsuda), a former prostitute now working at a hotel. The hotel’s owner, Ishida (Tatsuya Fuji), visits one day, meets Sada, and becomes instantly attracted to her. Their slow-burn bond turns into a full-blown sexual relationship in which they experiment with and pleasure each other in numerous ways. Sada gradually falls in love with Ishida so desperately that she wants him near her at all times; her obsession turns her into a dangerous woman who’d do anything for love. In the Realm of Senses is visually stunning and is often considered a true example of arthouse films.
17
‘Belle de Jour’ (1967)
Belle de Jour is a Luis Buñuel film based on a 1928 book of the same name, and Buñuel even said he hated the book, considering it too “soapy.” He took on the challenge of adapting it, wishing to turn something he disliked into something he liked. Catherine Deneuve was 22 when she starred in Belle de Jour, and she mentioned being unhappy with the filming, Buñuel, and the experience altogether; she and Buñuel had mutual dislike for each other, but the movie turned out well, gaining widespread critical approval. Roger Ebert added it to his Great Movies list.
Belle de Jour follows Severine (Deneuve), a seemingly perfect housewife who isn’t physically intimate with her husband. She has fantasies that are often surreal and erotic, and she begins working at a brothel, which helps her sexuality come to life. Severine meets some complex people along the way, and though it all helps her set herself free, she can’t control the actions of everyone around her. Belle de Jour is stylish, visually gorgeous, and surreal in a very Buñuel-like style. Bonus: Deneuve’s costumes were designed almost entirely by Yves Saint Laurent.
16
‘Nymphomaniac’ (2013)
Lars von Trier‘s Nymphomaniac is the third and final installment in his unofficial “Depression Trilogy,” following Antichrist and Melancholia. It represents perhaps the most ambitious attempt in cinema to treat female sexuality as an epic philosophical subject. Von Trier’s heroine, Joe (Charlotte Gainsbourg), embraces her identity as an outcast who lives according to nature outside society’s conventions. The explicit content serves von Trier’s idea of forcing audiences to confront uncomfortable topics, in this instance, sexuality without romanticization, examining desire as both a life force and a destructive compulsion.
Nymphomaniac is a four-hour epic released in two volumes, and it unfolds on a snowy evening when the elderly bachelor Seligman (Stellan Skarsgård) discovers Joe beaten and lying in an alleyway. He brings her home, and over tea, she recounts the story of her life as a self-diagnosed nymphomaniac. The narrative spans from her early sexual fascinations, losing her virginity as an adolescent to her neighbor Jerôme (Shia LaBeouf), through adulthood as she descends into increasingly extreme sexual experiences. A lot of the film shows Joe using sex as a means of avoiding deep emotions, but also as her chasing a high she never seems to fully experience. Controversial and interesting, Nymphomaniac really isn’t for family night, but it’s a compelling erotic art film.