A memorable lyric states, “Sex is natural, sex is good”, suggesting an outlook that welcomes sex as enjoyable and empowering. This mindset is evident in several comedic films this summer, such as I Want Your Sex and The Invite. These movies highlight less conventional perspectives on sex and sexuality.
This week introduces two more films that delve into desire. One is Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma; the other is Will Gluck’s One Night Only, which takes a contrary, sex-negative stance.
In One Night Only, Monica Barbaro and Callum Turner star in a story that challenges the romantic comedy standard. Set in a dystopian future, the plot revolves around characters in New York who can only engage in pre-marital sex during a 12-hour annual window, imposed by a strict government mandate. The premise presents many questions, such as how different identities and cultural backgrounds fit into this narrative.
The film raises points about right-wing control over bodies, yet fails to engage with these political undercurrents. There is minimal exploration of its own ideas, leading to more confusion than clarity. The portrayal of rebellion against the mandates is cursory. The movie clumsily presents the idea of enforced celibacy as forcing people to be “intentional” about intimacy. Marriage under fear of arrest remains unexamined, lacking nuance in its execution.
The film also lacks warmth, as Barbaro and Turner do not generate sufficient chemistry for a romantic dynamic. The romantic and dystopian aspects fall short. One Night Only contrasts sharply with Schoenbrun’s fresh take, Teenage Sex and Death at Camp Miasma.
Schoenbrun’s film highlights sexual anxieties amid societal pressure, positioning them as challenges to be faced. The story follows Kris, a young queer filmmaker, as she attempts to reboot the franchise Camp Miasma, an old horror series. She seeks the aid of Billy Presley, the franchise’s original star, as they revisit the nostalgic series that sparked her sexual awakening.
Kris, involved in a polyamorous relationship, struggles with her desires, channeling them instead into filmmaking. Rebuilding plucks those repressed feelings as she reconnects with herself under Billy’s guidance. Schoenbrun’s style is thoughtful, infusing film theory and gender studies without heavy-handedness. The chaotic and complex narrative mirrors the academic discourse it draws upon.
Teenage Sex and Death at Camp Miasma echoes Schoenbrun’s previous work, I Saw the TV Glow, which explored themes of self-exploration versus conformity. This new piece represents a filmmaker now more settled in identity and vision, showcasing an artist aware of the balance between desire and sociocultural expectations.
The film spotlights diverse expressions of desire, aligning with progressive viewpoints despite societal regression. Meanwhile, One Night Only reinforces restrictive views, reflecting yet not challenging current socio-political climates. Both films present divergent approaches to sex and desire, illustrating the balance of art that can challenge or reinforce boundaries.