Last year's Oscars offered the lowest ratings seen since 2008; this year may outdo last.Paul Bois ~ September 19, 2017
Call Me By Your Namehttp://www.dailywire.com/sites/default/files/styles/article_full/public/uploads/2017/09/creepy_1.jpg?itok=M6rM6OBwGone are the days of movies that inspire our hearts, uplift our spirits, delve into the deeper truths of the human condition, or just, well, entertain us — the days when a given Oscar race would offer the eclectic likes of a Pulp Fiction, Forrest Gump, The Shawshank Redemption, Four Weddings and a Funeral, and Quiz Show. Best Picture winners now feature teenage boys giving each other hand jobs on a beach and Oscar bait films about the hidden beauties of pederasty.
This year's Oscar bait season may be the worst yet for films about sexual depravity. Three films that are generating Oscar buzz — Call Me By Your Name, The Shape of Water, and Professor Marston and the Wonder Women — go out of their way to feature radical and different kinds of sex, which reviewer Angie Han celebrates for being not "white, cisgendered, straight, and vanilla" sex "filtered through a heterosexual male gaze."
The first film profiled by Han is Call Me By Your Name, a "first love and sexual awakening set in the 1980s" between a 17-year-old boy and his father's 24-year-old male friend. Here's how Han describes it:
In typical Luca Guadagnino fashion, sound and image collide to create an almost tactile sensation. You can practically feel the sun on your skin and taste the sweat on your lips. Much attention is paid to the way the two romantic leads – young Elio (Timothée Chalamet) and Oliver (Armie Hammer) – carry themselves and regard each other, and the physical attraction between them feels immediate and electric.
It's not that Call Me By Your Name is especially explicit (though the famous peach scene is definitely going to get people talking), but that it's unmistakably sensual. Sex is no mere byproduct of love; nor is love an elevation of sex. In Call Me By Your Name, the romantic and the erotic are inextricably intertwined.
The "infamous peach scene" referred to above involves the 17-year-old boy masturbating into a cut peach, which Armie Hammer's character eventually eats.The next film up in the race is director Guillermo del Toro's "fairy tale love story" The Shape of Water, which apparently takes "less than fifteen minutes" before the film devolves into "full-frontal nudity and then masturbation" to show the "daily routine for our protagonist, Eliza (Sally Hawkins)."
It's startling at first, simply because it's so unusual. But del Toro presents this scene with a matter-of-factness that goes a long way toward normalizing it. The camera doesn't leer or laugh at Eliza, or frame her self-pleasure as something forbidden.
Ditto a later scene of Eliza making it very clear that she doesn't just love the Asset (the fish-man played by Doug Jones) – she lusts after him as well. The Shape of Water cuts away before we actually see them doing the deed, but it's frank enough to offer a quick and clever answer to the question you're already asking in your head. (Namely, "how?")
It's not just Eliza who has wants and needs, either. Eliza's best friend is Giles (Richard Jenkins), a single gay man who's got a crush on a diner waiter. The film's villain, Strickland (Michael Shannon) is a married man who enjoys some afternoon delight with his wife. Not all sex is good sex in The Shape of Water (Strickland doesn't exactly look fun in bed). But as a general concept, sex is treated as something natural and normal – this in a film where the main object of desire is a merman.The final film profiled is the BDSM romance Professor Marston and the Wonder Women, a film about the sexual origins of the beloved comic book character Wonder Woman, whose creator William Moulton Marston had a three-way open relationship between his wife Elizabeth Marston and Olive Byrne.
The film looks deceptively conventional, in that it's designed, shot, and structured like any number of other biopics you've seen. But that's kind of radical in itself. When's the last time a tasteful period drama asked you to root for the long-term relationship between a queer, kinky threesome? Heck, when's the last time you saw that dynamic at all in a mainstream film?
In Professor Marston, kink isn't something seedy or shameful. (It's also not particularly extreme or explicit – we're talking a bit of roleplaying and rope play, maybe some light spanking, as filtered through soft lighting and breathless close-ups.) It's a pleasurable and private expression of the love between three adults. If the outside world has a problem with it, that's their wrong.Han notes that the movies do not just portray illicit sex, whose novelty wore off the moment Mrs. Robinson told Benjamin "I'm available to you" in The Graduate, but rather unorthodox sex, specifically not "designed to titillate straight men."
Last year's Oscars offered the lowest ratings seen since 2008; this year may outdo last.