Three films in, and director Mathew Puccini has pretty much covered the gamut of queer experience. With a light touch and a lyrical eye, Puccini’s shorts play like a moving triptych of quietly pivotal moments in the lives of queer men. “The Mess He Made” starred Max Jenkins as a man waiting for the results of an HIV test, and “Lavender” featured Michael Urie as half of a couple who invite a younger third into their longterm relationship. “Dirty” explores the awkwardness of a more universal folly — bottoming for the first time. As always in Puccini’s work, the characters are tender and natural; the images aglow with intimacy. Ironically for a film whose worst moments now seem awkwardly regressive, American Pie’s greatest impact – outside of additions to the lexicon – was to nudge the teen comedy away from the laddishly leering blueprint of the 80s and towards something that, for all its unchaste obscenity, was markedly more wholesome. The more impersonal nature of a stranger fantasy may also indicate you're trying to detach yourself from something that has nothing to do with your relationships. "Fantasies about sex with strangers may give expression to a desire to be free of pressure, duty, and responsibility to others in our day-to-day lives," says Darnell. "Often times, such fantasies are about what that person represents rather than who they are." But while the film’s promotional material featured its stars in skimpy outfits and the picnic-scene kiss between Sarah Michelle Gellar and Selma Blair became an early (and much-parodied) viral sensation, the film’s raunchiest moments were all verbal ones. It’s real turn-on was a screenplay that ran the full gamut from suggestive to risqué to laugh-out-loud outrageous.

Standard boudoir shoots involve about an hour of Victoria’s Secret-inspired hair and makeup. This gives clients a second to get in the zone before, you know, taking their clothes off. And the photographers suggested I incorporate something similar— hair and makeup, sexy music, a glass (or two) of wine—into my own nude selfie shoots. I don't have much of a problem being naked around people (just ask my poor, poor roommates), but even I thought this period of mental preparation sounded like a good idea. Somewhere romantic like "a deserted beach is far away from chores, deadlines, or any responsibilities," says Bromley. "It's a place where a woman can just be in the present moment. There isn't anything waiting for her to do, she can just relax into the bliss." And what's sexier than that? In 1997, at roughly the same time pornographers were starting to wonder if this “internet” thing might affect their industry, Paul Thomas Anderson made a film about a similarly pivotal point in the sex-movie business. A film, aptly enough, that would help transform Hollywood.Not for nothing, it's only relatively recently that women have been able to express more freedom and choice around sex, thus learning to ask for what they want in bed. So dreaming of a little same-sex action may be more about that liberation than sexual orientation—or it could be about both. "Gender fantasies might suggest longing to break free of the social obligations placed upon us by gendered restrictions," explains Darnell. The film stars Gael Garcia Bernal and Diego Luna as goofy school-age buddies and from the opening shot, which shows one of our heroes frantically going at it with his girlfriend, it's clear that fornication will play a central role in the next couple of hours. And so it does, the pair soon making friends with an enigmatic older woman at the races and regaling her with tales of an idyllic beach spot, which – metaphor alert – doesn't actually exist. Before long the three have set off on a journey towards sun, sea and, yes, life-changing self-discovery. For the record, I would've happily included an image of my moodboard (it's mostly butt photos, because apparently I'm a huge fan of derrieres), but photo rights issues prevent me from doing so. So you'll just have to imagine all the sexy boudoir butt pics that inspired my shoot. It's a bold move and it is to the film's credit that it offers no simple answers to the question, and the coda, in which the two meet up some months later, remains one of the most quietly emotive scenes of recent decades. Roeg said he wanted to make grief “the sole thrust of the film" – and he certainly succeeded in doing so, “thrust” being very much the operative word.

The slasher film’s fixation with fornication is as old as the genre itself. Classically, the relationship is puritanical and punitive: a gang of randy, hedonistic teenagers get what’s coming to them thanks to a bloodthirsty killer – penetration of one sort begetting penetration of another – with a virginal final girl the only one to be spared. The premise is well known – a seemingly no-strings fling between a married man and a seductive publisher turns deadly when our hero tries to return to married life – and the film’s attitude towards the issues of its time seems, at a glance, straightforwardly reactionary. Glenn Close’s sexually liberated career woman unmasked for the murderous nutjob she truly is, Anne Archer’s non-working housewife remains the true model of contended womanhood, and the nuclear-family unit is, in the end, protected at all costs. Certainly its belated reputation as a British classic is largely because it is seen to be a film about cinema itself. And it’s not hard to see why: it’s about a killer who poses as a documentary maker, using the allure of his job to murder women with a knife hidden in his tripod (those with an eye for symbolism needn’t look far). But it is also a film about depraved sexuality, with the killer – played by Carl Boehm not as a terrifying maniac but as a softly spoken wounded-animal type – fixating obscenely on his self-shot footage of women facing death. And his warped urges are in turn tied up in the idea of observing: when his neighbour Helen kisses him, he bizarrely kisses the lens of his camera. Fantasies of being the center of attention and desired by large groups of people may be about a longing to be seen and valued as a person of worth or importance, or part of something much larger than the individual self," says Darnell. That could be why around 57 percent of women actually fantasize about having sex with more than three people at a time, according to the Journal of Sexual Medicine. The scene has many detractors including the actresses themselves, who famously rounded on their director: Seydoux said making it was "horrible" and she would "never" work with Kechiche again. Once the film began sweeping up during the 2013 awards season, however, they recanted and said that they were "happy" with it. And yet, look at the scene now, within the movie, and away from the hype, and it doesn't play too well. It's crudely lit. It's brazen, and yet also crass. And what it says, in its many nipple shots, arse close-ups, and vaginal teases, is that perhaps all sex scenes, no matter how well-intended, or how groundbreaking and profound, are inherently, well, kind of sleazy.Maybe you’re a vibrator connoisseur or perhaps a curious novice. Maybe you’re shopping for a Christmas gift, anniversary gift, Valentine’s Day gift, or a romantic gift just to show that special someone you’re thinking of them. Whatever the reason and whatever your giftee’s tastes, we’ve got the best sexy gifts primed to light up anyone’s holiday (including your own), from top-rated sex toys, lacy lingerie, and kinky card games to BDSM starter kits, bedroom-ready sex pillows, and sex blankets. Art house movies. We get it. They do sex. That's their thing. From Swedish nudes in 1953 ( Summer with Monika) to the butter-based penetration of 1972 ( Last Tango in Paris) to crazy irascible beach-side sessions in 1986 ( Betty Blue), nothing screams "art house" more than a smartly directed and gamely acted sex scene. Then came Blue is the Warmest Colour. One of the greatest enemies of sexual desire and satisfaction is boredom," says Levy, "especially in longer-term relationships." Fantasizing about someone you know is partly due to the fact that they regularly show up in your real life, and also because "novelty, mystery, curiosity, and imagination are all hallmarks of desire," Bromley explains. In many ways this unashamed juvenilia made it an infinitely more mature film than something like Closer, which five years later lured in the same generation of kids via the same brand of smut-tastic dialogue, but this time did so while masquerading as Serious Grown-Up Drama. The first and only X-rated film to be named best picture was given its certificate from the MPAA for its “depiction of prostitution and homosexuality” – a fact that now seems a relic of its time, not least given the modesty of the film itself by modern standards. Nonetheless, John Schlesinger’s drama was a risky, adventurous movie in theme if not content, making a mesmerising protagonist out of Jon Voigt’s gay hustler who strikes up an unlikely friendship with another impoverished loner in Dustin Hoffman’s skittish con man Ratso.