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It's an attempt to combine the "best" of both tony ancient-historical epics Gore Vidal wrote the script and skinflick set pieces, but guess which side wins out? Caligula carousels through incest, rape and necrophilia, pausing only to let its heavyweight cast — McDowell, Helen Mirren, Sir John Gielgud, Peter O'Toole — chat with Penthouse Pets novel or find novel uses for piss and spunk.

Hedging his bets, Guccione grafted six minutes of hardcore sex onto the film, mostly via an orally fixated orgy sequence; the result feels like the sort of unholy union that might even give the degenerate Roman figurehead pause. Director William Friedkin reportedly went in a little too deep as well, and was forced to cut about 40 minutes of footage! The film provoked protests from the gay community for its questionable depiction of homosexuality and the city's leather-daddy scene; the notoriety contributed to  Cruising flopping spectacularly upon release.

Since then, however, its reputation has been somewhat redeemed, and it has become something of a time capsule for a certain late '70s New York downtown subculture. Rainer Werner Fassbinder's final film is at once one of his most personal, and one of his most reviled, with even his biggest admirers bristling at its garish artificiality and Tom-of-Finland-inspired set design. Bring on the giant-penis architecture! But this stagebound, stylized take on Jean Genet's novel is also profoundly intimate and sad, its intense scenes of homosexual sex jutting up against its arch performances and otherworldly atmosphere.

It's less an adaptation of a book than a fever dream Fassbinder had after reading it, complete with nocturnal emissions. Now notable more for the context surrounding its release than for its content, Philip Kaufman's adaptation of Anaïs Nin's memoir was the first mainstream movie to earn an NC rating.

Though meant to salvage artful erotica from the pornographic ghetto of the X rating, the designation quickly became the kiss of death — numerous newspapers refused to even carry ads for this relatively tasteful if unashamedly sexual literary love story starring Fred Ward as the libidinally adventurous novelist Henry Miller and Maria de Medeiros as the gradually unbound Nin.

All of the film's ecstatic grunting, moaning and thrusting had moral watchdogs crying indecency, though scenes involving a very young, very naked Uma Thurman as Miller's wife and Nin's lover didn't stop her from becoming a bona fide movie star later on.

Filthy in the best possible sense, David Cronenberg's adaptation of J. G Ballard's near-future novel of vehicular desire surveys the wreckage of modernity and digs up taboos — car-accident fetishes? From high-speed, high-impact orgasms to exploring the erotic potential of leg braces, the sex scenes here manage to be both icky and disconcertingly arousing. Consummately seedy leading man James Spader is a bourgeois professional permanently perverted by a near-death experience, while character actor Elias Koteas turns in one of the randiest performances in film history as a slithering scarfaced greasemonkey.

It won a prize for "audacity" at Cannes; Ted Turner found the movie so degenerate that he tried to have it banned from ever being released. Lars von Trier has been thumbing his nose at society and good taste for long before Antichrist and Nymphomaniac , and his only Dogme 95 film helped garner him his first true taste of controversy.

It's a bleak black comedy about a group of adults who act like developmentally disabled people in order to both liberate themselves from, and get up in the face of, bourgeois complacency. One of their provocations involves having group sex — which, naturally, the director shows in characteristically unflinching fashion. There's also a shot of an erect penis, which was digitally blurred upon the film's release in the U.

The film got into ratings trouble in some countries as a result — but by later Von Trier standards, it practically feels like a Disney film. Stanley Kubrick's swansong averted an NC rating thanks to director-approved digital inserts that obscured pornographic acts during the much-discussed Venetian-masked orgy sequence. The scene still feels remarkably smutty, though the film's steamiest moment would barely qualify as PG After each indulging in extramarital flirtations at a lavish holiday party, Tom Cruse and Nicole Kidman get high in their bedroom and talk about desire.

Provoked by her husband's disbelief that she could ever be sexually tempted, Kidman parks on the carpet in white skivvies and delivers a jealousy-stoking monologue for the ages involving a summer getaway, a studly naval officer, and a purred vocal delivery. In terms of potency, Cruise's subsequent sexual odyssey pales in comparison. Leos Carax's achingly personal adaptation of Herman Melville's "Pierre, or the Ambiguities" tells the story of a moody young man Guillaume "Son of Gerard" Depardieu who retreats from a life of high society to live as an impoverished novelist in bohemian Paris.

Things heat up when a raven-haired beauty Yekaterina Golubeva emerges from the woods, claiming to be his sister and casting a spell over our slumming hero.

Carax had emerged as the young French filmmaker to watch in the late eighties before burning out during the making of The Lovers on the Bridge For his "comeback" film, he had his actors engage in what appears to be unsimulated sex that's both tender and ravenous. In the dark of their squalid squat, their writhing bodies are undistinguishable, evocatively blurring lines between art and savagery — as good a description of this feral, highly charged drama as any.

But considering that the filmmaker who said this, Coralie Trinh Thi, had acted in porn films, and the leads — Karen Lancaume and Raffaela Anderson — had also graced Gallic stag movies, and the duo can be seen engaging in some unambiguous oral sex and copulation, well…you can see how that might confuse folks.

Shot in a dingy, lo-fi style and graced with a soundtrack that might have been pilfered from Epitaph's back catalog, this violent, gleefully vulgar story is more punk grindhouse flick than typical male-fantasy porno. Our own Peter Travers colorfully compared it to another tale of female empowerment: "It's Thelma and Louise with actual penetration! He Peter Sarsgaard is a computer genius who's made a mint working in Silicon Valley; she Molly Parker is an exotic dancer who he pays to spend three days and nights with him in Las Vegas.

She offers him lap dances, he wields his financial worth like a scepter and director Wayne Wang treats the whole thing like a philosophical treatise on the link between capitalism and carnal demands. Then either the Deadwood actress or her body double —it's difficult to truly say — plays a game of hide-the-lollipop, and suddenly, the movie enters a whole other realm of sexed-up power games.

Patrice Chereau's film, based on stories by Hani Kureishi, riffs on Last Tango in Paris and focuses on a man and a woman who meet weekly to have anonymous and unsimulated sex, and whose lives are complicated when one starts to learn more about the other.

Like Tango, it also forces you to reconsider both the concept of authenticity in sex scenes and how they function: After watching the raw, in-your-face quality of the copious sex scenes in the film, do you feel like you know more about these characters, or less?

Regardless, the scene in which Shallow Grave actress Kerry Fox fellates costar Mark Rylance onscreen immediately gained the film notoriety and arguably stalled her career. The actress still contends it's the best work she's ever done.

Long before he explored space in Gravity  or the glories of long takes in Children of Men , Alfonso Cuarón investigated the mathematical possibilities of a hot-to-trot threesome in this millennial sleeper hit.

Though Ana López Mercado's ample bosom serves as the tantalizing bait for both the audience and her horny young traveling companions — Gabriel García Bernal and Diego Luna — it's the pent-up desire the boys have for each other that drives the story towards a very hot, very cathartic, and ultimately terminal group session at the end of the road. It also made its two male leads stars. Years after the existential provocations of Last Tango in Paris , Bernardo Bertolucci made this sex-drenched, surprisingly generous look back at the era of the French New Wave and the May riots.

American Michael Pitt shacks up in a Paris flat with sensuous and somewhat incestuous twins Eva Green and Louis Garrel, and a variety of imaginative couplings ensue. In typical Bertolucci fashion, the possibilities of cinema and sex seem limitless — both liberating and terrifying — but the political turmoil of the world outside soon brings everybody back to reality. The film didn't do the kind of business that Last Tango did, but it was notable for being a rare instance where a studio-owned distributor Fox Searchlight was willing to go with the allegedly financially poisonous NC rating.

Did Larry Clark's most controversial film not got a proper release in the U. Or was it just an issue of music clearances? It says something about a film when the best-adjusted character in it is the guy who's sleeping with his girlfriend's mom.

A memo to aspiring filmmakers: You can spend a large amount of your running time doing virtually nothing — hell, you can even be as narcissistic as anyone in showbiz — so long as you cap off your movie with a starlet blowing you onscreen. That's the main takeaway from writer-director-actor Vincent Gallo's pet project about a motorcycle rider who does, well, not much more than brood.

But the reason we still talk about this movie beside the fact that it gave birth to a world-class spat between Gallo and critic Roger Ebert is a lengthy scene near the end in which Gallo's costar, Chloe Sevigny, puts Vincent's "money" where her mouth is.

The fact that Gallo apparently used a prosthetic penis for the scene doesn't make it any less uncomfortable to watch, nor does the fact that the scene actually does serve a purpose somewhat in the big picture. You're observing a well-known, highly talented actress debase herself in one unbroken shot. You'd probably feel less icky if you were actually watching porn. British filmmaker Michael Winterbottom A Mighty Heart updated the arthouse erotica of the s for the mid-aughts by framing this roughhewn romantic tale as a mash-up of contemporary indie rock and explicit penetrative sex.

Featuring live performances by Franz Ferdinand, Elbow, The Dandy Warhols, Primal Scream and others, the film is a fascinating, at times even enlightening consideration of how the arc of a relationship can be marked by its sexual encounters. And unlike most of its forebears, 9 Songs is genuinely interested in female pleasure, lingering longest — and most powerfully — on actress Margo Stilley's mid- and post-coital face.

You can't make a sex-positive movie without sex, and John Cameron Mitchell's follow-up to Hedwig and the Angry Inch is nothing if not sex-positive. Tracing the love lives of several Gothamites who converge at the Brooklyn salon that gives the film its name, Shortbus shows all manner of lusty goings-on — hetero, homo, couples, threesomes, singles going steady — and spares no details. Unlike a lot of the films on this list, however, Mitchell's horny ensemble dramedy doesn't treat its protagonists' sexual shenanigans as mere fodder for shock value; here, fucking and sucking equals character.

Yes, viewers who aren't used to seeing men ejaculate all over each other or extended scenes of cunnilingus may start squirming in their seats, but Mitchell's group-therapy vibe diffuses the fact that you're watching people actually have sex. He's made a template for feel-good near-porn.

Hoping to sabotage Imperial Japan's occupation of their native China, a group of radical students recruit a beautiful young woman, Chia Chi Wei Tang to entrap and assassinate high-ranking collaborator Mr. Yee Tony Leung. All goes as planned until they fall into a torrid, agenda-scrambling affair, which director Ang Lee Brokeback Mountain explicitly depicts in all of its rigorous, almost scary physicality. The film earns its NC rating both for the uncommon length of these scenes, and for how violent, and face-flushingly good, the sex seems.

French enfant terrible Gaspar Noe's virtual reality epic is a tripped-out journey through the beyond, in which a dead junkie's soul rises out of his body, floats across a neon Tokyo and returns to watch over the sister — a Tokyo stripper played by a very naked Paz de la Huerta — that he promised to never leave. And since this is a Gaspar Noe film,the soul's chosen method of reincarnation and reinsertion into life comes via a close-up of a penis as it enters a vagina — shot from inside the vagina — and a journey through the cervix.

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