Shortbus: Searching for the Big O in NYC

DIRECTED BY John Cameron Mitchell, 2006

STARRING Sook-Yin Lee (Sofia), Paul Dawson (James), Lindsay Beamish (Severin), PJ DeBoy (Jamie), Raphael Barker (Rob), Peter Stickles (Caleb), Jay Brannan (Ceth), Justin Bond

CERTIFICATION 18: Contains strong real sex

RUN TIME 90 mins approx, Universal

COVERLINE 'Open your mind. And everything else'

WHY YOU SHOULD WATCH IT As GQ proclaims on the DVD cover, 'The most sexually explicit film to go on general release.' And, if you've ever wondered about those Michael Flatley rumours, this is your chance to see the act of auto-fellation.

THE PLOT A variety of characters living in New York are connected by sex club Shortbus; as the city suffers a series of electrical 'brown outs' they're looking for more sex, happier relationships, or both. Sofia meets couple Jamie and James through her work as a therapist and they introduce her to Shortbus; there she meets dominatrix Severin and the pair agree to talk through their various problems.

After five years together, Jamie and James decide to open up their relationship and they meet Ceth at the club; neighbour Caleb is obsessed with James, whom he follows everywhere and photographs. After Caleb rescues James following a suicide attempt by the latter, all the characters regroup at Shortbus in a black out. A carnival-esque atmosphere breaks out.

THE FILM Shortbus is famed for putting real sex in a relatively mainstream picture - it touts itself as an 'E-XXX-tremely romantic comedy'. Certainly its reputation will have further spread with its availability on DVD. What is remarkable about this film is it's no-nonsense attitude to gay sex. Many of the other films featured in this blog, if they feature gay themes at all, are ambivalent in their attitude to homosexuality, if not downright homophobic. Even the lead character in Catherine Breillat's Anatomy of Hell is antipathetic towards gay men: according to her, they don't look at women, which is not something I've ever heard before.

A little like Lucas Moodysson's A Hole in My Heart, the characters in Shortbus are slightly damaged: Jamie can't seem to get over his past as a child actor; his partner James is a bipolar former hustler; Sofia, a sex therapist ('I prefer "couples counsellor"'), has never had an orgasm; her husband Rob behaves like a spoilt child; dominatrix Severin has never had a relationship; lovestruck Caleb is a stalker. The only well-balanced personality here is Justin Bond (of cabaret duo Kiki and Herb), playing himself as the manager of Shortbus; he's the sole likeable character among much therapy-speak and self-centred obsessionalism.

The film does sometimes feel a little close to it workshop roots: a game of truth or dare is a banal way to have characters reveal something of themselves. There are plenty of nice touches, though, not least the lovely animation of New York (by John Bair) that links the scenes, and the soundtrack by Yo La Tengo, which also features Scott Matthew, Anita O'Day and Animal Collective.

It soon becomes clear depressive James is preparing the way for suicide: he is opening up his five-year relationship with Jamie to secure a new partner for his boyfriend, as well as making a videotape of memories for Jamie. Resolution for Sofia, who has only ever slept with her husband, seems more difficult to pin down. Again like in A Hole in My Heart, Sofia tries vigorously to make herself come with a vibrator on the bathroom floor but is distracted by her husband, who is wanking to the internet next door. Attracted throughout by a couple at the club credited as 'beautiful couple' (they really are), Sofia is finally shown with them while Rob looks on.

There are big themes here: an elderly man who says he is a former mayor of the city consoles himself that he did all he could to contain the AIDS crisis, and one of the first shots of New York is of Ground Zero. Shortbus works best as a post-9/11 parable of a city powered by sexual energy. It also says, you may want or need to be in a relationship, it may just not be the right one.

KEY SCENES Chapter 1, 3:25 The central characters are introduced, having sex: Sofia and Rob are banging away on a piano; dominatrix Severin is flogging a preppie client, and James is sucking himself off on video.

Chapter 5, 35:00 Jamie, James and Ceth have sex together. When Ceth calls for a bit more noise, the trio breaks into the Star-Spangled Banner.

Chapter 10, 1:19:51 A counterpoint to the opening scene, where the realigned couples have sex, including Caleb and James, and Sofia on her own on a fantasy, lamp-lit shoreline.

FURTHER VIEWING The film James makes for Jamie in Shortbus feels and looks very similar to Jonathan Caouette's remarkable 2003 documentary Tarnation, which Mitchell executive produced. Caouette has assembled almost 20 years of home video footage, including Super-8 and even answering machine messages, chronicling his mother's depression and its effect on him. Their stories are shocking but the resulting film is very beautiful.

KEY QUOTE 'Voyeurism is participation' - Maitre d' at Shortbus

Deep Throat: The real thing

DIRECTED BY Gerard Damiano, 1972

STARRING Linda Lovelace ('as herself'), Harry Reems (Dr Young)

CERTIFICATION R18: Contains strong images of real sex, or fetish material, intended for sexual stimulation

RUN TIME 62 mins approx, Hot Rod

COVERLINE 'How far does a girl have to go to untangle her tingle'

WHY YOU SHOULD SEE IT In 2000, the BBFC relaxed its views on depictions of sex on screen, though not violence. This more adult perspective resulted in the release of a panned-and-scanned version of Deep Throat, easily available on the high street, and an R18 certificate for the original hardcore film, which is the one reviewed here.

THE PLOT (Such as it is) Famously, the character Linda Lovelace can't achieve orgasm and finds sex disappointing; the solution, as we all know, lies elsewhere. Initially Linda's flatmate, Helen, suggests they experiment with a series of men but, when this doesn't work, Linda visits Dr Young. He discovers her clitoris in her throat. Struggling to meet the twin attentions of his nurse and Linda, he casts the latter as his physiotherapist to look after some of his patients. Linda meets a man with a 13-inch penis who can satisfy her.

THE FILM Deep Throat was based around Linda Lovelace's felicity for the act with which she and the film have become synonymous but it does feature a broader range of sex acts than fellatio. The movie is graphic, and rubbish, but it became a rallying point for anti-censorship campaigners in the USA. I borrowed this copy from a gay American (male) friend for whom the film had sentimental value.

Deep Throat can be characterised as a hardcore musical, with bad lines between the sex scenes. The first such scene in the movie features a delivery man going down on Linda's flatmate, Helen, while she puffs on a cigarette. 'Mind if I smoke,' she asks the grocery boy, 'while you eat?' 'What's a nice joint like you doing in a girl like this?' asks a man who interrupts their orgy later. The sex scenes are accompanied by a kitsch soundtrack that takes the place of any live sound. A very graphic scene featuring Linda and Helen engaged in anal sex and a threesome, respectively, is accompanied by a song, 'Love is Strange'. 'Blowing Bubbles' is another theme.

Linda is portrayed as a sexual romantic: 'There should be more to sex than a lot of little tingles. There should be bells ringing, dams bursting, bombs going off.' 'Sounds like you want to wreck the city,' is her flatmate's sardonic response. When Linda meets Wilbur, who is in love with her, she tells him the man she goes out with has to have a nine-inch penis. 'I'm only four inches away from happiness,' he complains, before ringing Dr Young for help. The result is predictable: 'He can cut it down to any size you want,' Wilbur tells Linda. Their happiness is assured without the need for surgery.

KEY SCENES 27:11 Linda performs 'deep throat' on Dr Young, an event that is greeted with footage of bells ringing, fireworks exploding and a rocket launch.

34:15 Linda pays a house call, dressed in nurse's uniform, on Albert Fenster. To the accompaniment of a song called 'The Real Thing' he inserts a cup into her vagina and proceeds to drink Coke from it through a straw.

49:50 Linda is interrupted while shaving her pubis by another character, Wilbur Wang, who can only have sex if he sees it as a rape fantasy.

WHAT HAPPENED NEXT 'It was the first time respectable, middle-class women went to porn theatres,' declares Camille Paglia at the start of Inside Deep Throat (2005) of what she calls this 'epical moment'. Fenton Bailey and Randy Barbato's documentary is keen to establish Deep Throat's credentials as the 'most profitable film ever made' - from a $25,000 budget it went on to gross more than $600million, they claim - before exploring the censorship, and personal, issues that surround this hugely successful movie.

Screen sex began nine years after poet Philip Larkin's Annus Mirabilis: Deep Throat opened in the then-notorious Times Square, New York, on 12 June 1972. It was an immediate cause célèbre, dubbed part of the new 'porno chic' by no less an authority than the New York Times. As with Baise-Moi in France more recently, the religious right was particularly vociferous in its hounding of the movie. The film was closed down in New York and went on to being banned in a total of 23 states in the US but worse was to come: in 1973 the Supreme Court tightened US obscenity laws while in 1975 117 people connected to the film were charged with conspiracy.

Most prominent among them was one of the film's stars, Harry Reems, who became something of a poster boy for the anti-censorship brigade. Reems had originally been assigned to the film as a production assistant but his wacky central turn is one of the film's only redeeming features; he was paid $250 for the role but now faced five years in jail. Charismatic and a good deal more eloquent than Linda Lovelace, he was happy to debate the film and obscenity law publicly but was found guilty by a unanimous jury. He was saved from imprisonment by a typical legal sleight of hand when it was found, on appeal, that his participation in the film took place before the 1973 ruling.

Inside Deep Throat is a very well-formed look at three decades of censorship in the USA since the early 1970s, featuring many of the usual suspects: John Waters, Gore Vidal and Dr Ruth Westheimer (pity Dennis Hopper, who has to deliver the film's overwrought narration) - as well as that all important 'money shot'. The introduction of VCRs in the mid-70s is signposted as a crucial moment when DT director Gerard Damiano's vision of a mainstream, high-value sex film industry was pushed aside.

Links are also drawn from Nixon's 'moral leadership' to Ronald Reagan's attack on the porn industry in 1986; in both cases scientific opinion was ignored. A coda suggests that censorship would again be pursued more vigorously if officials weren't so busy combating terrorists. Inside Deep Throat is ultimately poignant: its protagonists, even the film's persecutors, are imbued with nostalgia.

Reems was passed over for any mainstream acting roles and turned to drink and drugs; he found himself through religion and qualified as a real estate agent. Linda Lovelace - originally Boreman - is portrayed as always eager to please; when the tide turned against pornography, she publicly denounced Deep Throat and said she had been coerced into appearing in it (certainly her mentor at the time, ex-partner Chuck Traynor, appears to have had an unhealthy hold over her). She struggled to hold down a regular job and decided, in her fifties, to cash in on her notoriety. She died in a car crash in 2002.

KEY QUOTE 'No wonder you can't hear any bells, you don't have a tinkler' - Dr Young

BONUS CURIO (1) Director Gerry Damiano was a hairdresser who was inspired to make porn movies by what he heard in his salon.

(2) Linda Lovelace had a cat called Adolf Hitler due to a black patch shaped like a moustache above its mouth.

Intermission: Enter the Void

For French director Gaspar Noé every ending is a beginning: his last film, Irreversible, begins at the end and is told backwards while this latest starts with the death of its lead character, from whose point of view we see the rest of the film. Oscar has invited to Tokyo Linda, the sister from whom he was split in childhood when their parents died in a car crash. Linda finds work as a stripper to supplement Oscar's income from drugs - and, it seems, as a gigolo to a friend's mum - but he's killed when a deal goes wrong.

Like Irreversible, Enter the Void is filled with strobe effects - Noé has no interest in courting an epileptic fanbase - a club with a bad name (The Void) and even a self-referential gag, where the director's name serves as a contact for a dealer. There's plenty of neon and fractals, a predominant breast fixation, as well as some guff about the Tibetan Book of the Dead that purports to serve as the film's philosophical frame. (I don't know what it is about Tokyo that sends Occidental directors bonkers: Sofia Coppola, Hal Hartley, Wim Wenders...)

I once described an author's role in one book as more like directing traffic, and there's something of that in Noé. He is undoubtedly technically very accomplished but much of his recent work is about the camera hitting its marks and orchestrating the cast to meet theirs; he's not someone to provoke great performances from his stars. All directors should be in control of their material, but the great ones have something to say, too. In Enter the Void, death is described as the 'ultimate trip' but highs are like dreams: you shouldn't share them with other people.

Lie with Me: Girls just wanna have fun

DIRECTED BY Clement Virgo, 2006

STARRING Lauren Lee Smith (Leila), Eric Balfour (David)
CERTIFICATION 18: Contains strong sex, nudity and language
RUN TIME 89 mins approx, Metrodome

COVER QUOTE 'The continuing evolution of art porn' - Hollywood Reporter

WHY YOU SHOULD SEE IT In the last decade or so, hardcore porn has tried to extend its market by being more female friendly. In a mirroring of that situation, the artcore movie market is trying something similar with films like this.

THE PLOT At a party, Leila shares a bathroom with a guy, David, but ends up pulling someone else, with whom she has sex while David and his on-off girlfriend, Victoria, watch from a parked car, where they, in turn, have sex. Leila becomes obsessed with David; she exposes herself to him and then goes to his flat, where they have sex. They start to date but Leila's anxiety over the break-up of her parents' marriage, and the presence of Victoria, cause problems.

Leila flirts with other men at a club provoking David's jealousy; when they get home he sodomises her. David is then affected by the death of his father, for whom he acted as carer. David and Leila's relationship deteriorates; she has sex with someone else but is unfulfilled. When David sees Leila going to her cousin's wedding, he follows her and is invited to join the party.

THE FILM Lie with Me opens with a close-up of a woman's mouth; as the camera pulls further and further back, the main woman character, Leila, is revealed, pointing a TV remote control and only dressed in a short jean skirt, under which she's wanking herself. It's an absorbing image that doesn't quite succeed in its execution, much like this whole film.

Everyone in Lie with Me is annoying; it looks like a fashion spread, too, filmed in accentuated colours. Sex takes place on artfully arranged rugs; David's room has prints hanging on lines from the ceiling and a L'Atalante film poster on the wall (perhaps a visual pun on the respective directors' names?); when Leila comes to his place, she finds David posed on his bed in the middle of the room, reading Steppenwolf, as drapes blow in the sunlight behind him. If Cosmo did porn films, the result would be something like this (there are lots of condoms everywhere, too).

Scarlet magazine is quoted on the DVD cover saying that Lie with Me is 'everything 9 Songs wanted to be', a dreadful slur on the latter film, which is braver and more interesting in every way. The only area where this film goes further is that the couple at its centre have anal sex but, considering the detail in 9 Songs, you'd hardly expect it to go that far. For all Lie with Me's bluster about a woman trying to act like a man to get what she wants sexually, the anal sex scene is one of subjugation.

This DVD proudly proclaims that it is the 'full uncut UK version' - in BLOCK CAPITALS - but I can't find any record of it having been threatened with cuts in the UK, nor is the BBFC warning as explicit as some (no mention of 'real sex', for instance). The implication is that you're seeing something not afforded to cinemagoers (elsewhere in the world), though I don't think it had a full theatrical release here.

Leila's cousin, who's about to get married, wonders whether it's worth giving up great sex - with an ex - for love, with her fiancé; when David asks Leila whether they should go on a date, Leila replies that she's never been on one. Unfairly, she also asks David whether he has a girlfriend when she has his cock in his mouth, which may explain some of the confusion that ensues over their relationship status.

Lauren Lee Smith is very attractive as redhead Leila, even though the character's banal thoughts and fantasies, presented in voiceover, may want to make you kill yourself: 'Men can do whatever they want... they're not afraid'; 'How do you have sex with someone you're in love with?' Another mantra is 'Don't come'; I don't know how sexy that is.

If that doesn't do it for you, Eric Balfour will, and not in a good way. A desperately drippy presence, it's a relief that he doesn't voice his thoughts in his hopeless, girly voice. One sex scene is dominated by his ridiculous moustache, which is as neatly trimmed as Leila's pubic hair in another. David is supposed to have some depth, presumably, because he cares for his coarse father, though he could simply be under his thumb (David's girlfriend warns Leila, however: 'He has intimacy issues, he needs a mummy'). When Leila flirts and dances with two other men at a club, they appear even gayer than David.

Leila seems to find David as annoying as we do and it's something of a relief when they split up, when his father has died. The couple's superficial beauty is contrasted with the frail flesh of the father, who we see as much of naked as his son. (Leila only speaks with her own father on the phone when she's naked having a bath, which suggests she has issues all of her own.) She fails to deal with the idea that her parents are splitting up and selling the family home.

Lie with Me, which is based on a book by Tamara Berger, believes there is a desperate sexual connection at the heart of David and Leila's relationship, but Henry Miller or Anais Nin they ain't. If we relied on this level of heat in tempestuous couples, the world of art and literature would be a very sorry place. At the end of the film, David makes up with Leila. He admits, rather like 9 Songs' Matt, that he doesn't know where she lives, and perhaps they should get to know each other better. Considering he doesn't seem to have any personality, that would surely be the nail in the coffin for any prospective relationship.

KEY SCENES Chapter 1, 6:21 Leila blows a geeky guy outside a party; David and his girlfriend watch from a parked car. David's girlfriend goes down on him while Leila turns to face the car to have sex. David's girlfriend gets on top of him and Leila and David mimic each other's gestures while having sex with their respective partners.

Chapter 1, 14:25 Leila and David hide in a playground where he crawls into a large concrete tube. Leila follows him and undoes her dress to expose her left breast. When she touches herself, David puts his hand on his crotch but then leaves.

Chapter 2, 21:01 Leila goes to David's flat and starts to suck him off, then they have sex on the floor.

Chapter 7, 1:08:59 Leila picks up the geeky guy and goes back to his place; she forces his face into her crotch, then mounts him on the sofa.

Chapter 7, 1:11:28 Leila desperately tries to wank herself to orgasm while watching a porn film at home.

FURTHER VIEWING Lauren Lee Smith's performance stands alongside those of a couple of other strong women leads in two other recent movies: Kelly Reilly in Puffball (2007) and Elisabeth Röhm in Bernard Rose's The Kreutzer Sonata.

Puffball is the ageing Nicolas Roeg's perhaps valedictory piece, based on a Fay Weldon novel and scripted by her son, Dan. It features some extraordinary sex scenes - not necessarily in a good way, as they include internal shots of ejaculation. The Kreutzer Sonata (2008) shares with Lie with Me the belief that its central characters - Röhm plays alongside the mealy mouthed Danny Huston - are bound in a ferocious sexual tie. Reilly and Röhm are very watchable, though neither film does them any favours.

KEY QUOTE 'I know how to fuck and get what I want' - Leila

Battle in Heaven: Flag bearer

DIRECTED BY Carlos Reygadas, 2005

STARRING Marcos Hernández (Marcos), Anapola Mushkadiz (Ana), Bertha Ruiz (Marcos' wife)

CERTIFICATION 18: Contains strong real sex

RUN TIME 94 mins approx, Tartan

LANGUAGE Spanish

COVER QUOTE 'Beautiful and utterly compelling. Carlos Reygadas makes films like no one else in modern cinema' - Esquire

WHY YOU SHOULD SEE IT Director Reygadas provoked controversy with his intergenerational sex scene in debut movie Japón (2002) which featured a non-professional cast. The posters for Battle in Heaven have the very beautiful Anapola Mushkadiz lying naked to her waist on a bed, which is surrounded by clouds. Much was made of the movie's 'real' sex scenes.

THE PLOT Marcos, a chauffeur for an army general, is sent to meet his employer's daughter, Ana, at the airport and takes her to the high-class, suburban brothel where she works. She tells him to come in for sex with one of her colleagues but it emerges that he wants to have sex with Ana. She spots that he is out of sorts and he admits that he and his wife kidnapped a baby who died. His wife fears that he will give everything away but Marcos promises Ana that he will give himself up to the police. Before he does so he visits Ana at her boyfriend's flat; Marcos leaves but then returns and stabs her. He joins a religious procession on his knees and has a sack placed over his head; blood emerges and he collapses in the Basilica.

THE FILM Despite visual and structural differences, Carlos Reygadas's Battle in Heaven shares several themes with Y tu mamá tambien, by his Mexican compatriot, Alfonso Cuarón. Both films have an interest in the urban landscape of Mexico City - plenty of shots of its streets - sexuality and class, though only Reygadas goes so far as to explicitly mix the last two themes.

In Battle in Heaven's central scene, middle-aged chauffeur Marcos sleeps with his young charge, Ana, the daughter of his boss. Their relationship doesn't just transgress class and age boundaries but, as Ana points out, Marcos has known Ana for 15 years, since she was a child.

In the manner the camera sometimes goes for a wander in Cuarón's film, it does so here, scanning across neighbourhood rooftops, showing aerial repairmen at work, the city's skyline, and a dripping tap, before returning to the bedroom and a shot of the couple's genitals. The couple are tender with each other after sex: Ana's hand inches over to take that of the older man, her servant.

Reygadas had known Marcos Hernández, who plays Marcos, as he had worked as a driver for 30 years at Mexico's ministry of culture, where Reygadas' father worked. The thickset woman playing Marcos's wife, Bertha Ruiz, is the wife of a regional police commander. Her husband's only concern was that her sex scene be simulated. Reygadas is essentially transferring Catherine Breillat's filmic philosophy to central American and, indeed, extending it, through his casting of non-professionals.

The BBFC certificate for Battle in Heaven warns that it includes 'real' sex scenes and much of the pre-release hype focused on that. But the scenes, though more explicit than most in cinema (for instance, the blow jobs that bookend the film, or the shot of Ana's genitals), are not so explicit that they are definitely real. The BBFC ends up in a strange position here, advising viewers that convincing sex scenes are authentic, though they may be simulated (there's no reason a prosthesis couldn't be used for the blow job scenes).

There is a spiritual side to Reygadas' film that's more obvious than that in Y tu mamá también. When Marcos first sees the pilgrims whose procession he later joins, he is at a petrol station where the blaring classical music seems to have sent him into a fugue state. 'What do you think?' asks the mechanic, as he checks the oil. 'They're all sheep,' Marcos says. 'I was talking about the car,' comes the succinct reply.

Slowly Marcos' attitude changes: in bed with his wife he stares at a portrait of Jesus.
His wife urges Marcos not to give himself up but, if he is determined, to at least wait one more day so they can join the pilgrimage: 'Something special is going to happen,' she says, 'Something's going to change.' As it is, the extra day is the one on which he murders Ana, provoking a police hunt. Marcos' son reveals the location of the dead body of the baby that was kidnapped while his wife is taken to the procession to help spot her husband. (The policeman in charge of the operation looks and acts like a Mexican Takeshi Kitano, if you can imagine.)

When all the celebrants have left the Basilica, Marcos' wife is given permission to enter first to find her husband. Her husband's body is kneeling in a pew, a blood-soaked bag over his head. She reaches out to touch his shoulder and his body slumps to the floor. It starts to rain, and the next scene is of men trying to ring the massive church bell, though no sound is heard on the soundtrack.

This is followed by a recurrent scene in the movie, of soldiers either raising or lowering a giant Mexican flag, a ceremony Marcos has followed religiously in the past. It is accompanied by loud military music, and other scenes have very loud music, for instance Bach at the garage or Tavener's The Protecting Veil. It serves as jolting a purpose as the voiceover in Y tu mamá también.

It's possible to think of the opening scene, where Ana fellates Marcos, as Marcos' fantasy. Its repetition at the film's end hints at something else made manifest - a meeting in heaven, or Marcos' dying dream?

KEY SCENES Chapter 1, 00:40 A sweaty, middle-aged man, Marcos, with a combover and paedo glasses is shown getting a blow job from an equally naked young woman, Ana, against a grey backdrop. The camera tracks down his standing body and then round her kneeling figure till we're facing her; a tear trickles down one cheek.

Chapter 7, 37:07 Marcos is shown having sex with his hefty wife from behind. As she kneels on the bed he regards her back and an icon of the wounded Christ on their bedroom wall.

Chapter 9, 48:18 Ana is riding Marcos naked in bed; as they have sex the camera moves out the window and tacks across the skyline before returning to the couple. She gets off him and, as they lie side by side, the camera shows her pussy.

Chapter 15, 1:29:36 Ana is again shown giving Marcos a blow job in the space with the grey backdrop. Both are noticeably more relaxed and happier; they say that they love each other.

WHAT HAPPENED NEXT Reygadas went on to make the beautiful, mystical Silent Light (2007), set among the Mexico's Mennonite community. A fan of Carl Theodor Dreyer's work from his time as a potential film student in Brussels, Reygadas borrows the ending to the Danish director's film Ordet (1955). There are again the everyday sex scenes he likes to show, amidst another cast of non-professionals.

KEY QUOTE 'What you really want is to fuck me, right, Marcos?' - Ana

BONUS CURIO (A Brush with Nipples, Part III) Mushkadiz's hair extends wildly for the cover of the US DVD (in the UK, the film's title was emblazoned over her chest):