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After Sean cums on his stomach, Nathan wipes it off with tissues, and they laugh, because cum, in all its messiness, is a reminder of life.Īnd then there’s straight-up joke cum. What follows is one of the most heart-wrenching scenes of the year: Nathan - HIV negative, strapping, and healthy - cradles Sean in his arms and gives him the only succor he can. He misses Nathan, and the two have grown distant as Sean grows ill.
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Sean, who’s HIV positive, is depressed and dying, his body a thin carriage of skin and bones. There’s one scene from BPM that stands out for its poignancy: Nathan gives Sean a hand job after the latter has been hospitalized. To feel the reality of all those things, you know?” With BPM, the mechanics of gay sex aren’t treated with trepidation or taboo, but rather with an understanding that it’s part of life. I show it because it connects me so much to the actors and the characters. They are really normal,” said Robin Campillo, the director of the film. “All those details, for me, are not provocative. Cum exists alongside lube, condoms, and discussions of HIV status as part of the fabric of how gay men have sex. The sex scenes between the two lovers Nathan (Arnaud Valois) and Sean (Nahuel Pérez-Biscayart) are frank and filled with naturalism. It’s a simple detail, but one that adds warmth to the scene.īPM, the Grand Prix winner this year at Cannes that’s also France’s submission for best foreign film at the Oscars, takes a similarly realistic approach. Elio tells Oliver that the maid looks for “signs,” but Oliver tells him not to worry. After the pair have sex for the first time, Oliver wipes off some cum with his blue button-down - affectionately called “Billowy” in André Aciman’s novel.
But there’s a less audacious - and equally tender - moment before that. Elio then bursts into tears, ostensibly moved by the idea that someone would want to feel that connected with him. He leaves the bruised peach, oozing with sperm, on his desk and falls asleep, whereupon his lover Oliver (Armie Hammer) discovers it and dips his finger inside for a taste (but does not eat it).
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One of the most seminal movie moments of the year involves a cum-filled peach in Call Me by Your Name: A horny teenage Elio (Timothée Chalamet) masturbates with the stone fruit and ejaculates inside of it.
Think of the opening of John Cameron Mitchell’s Shortbus, when Paul Dawson sucks himself off and comes into his mouth, or Michael Winterbottom’s 9 Songs, which featured actual sex between the two romantic leads Kieran O’Brien and Margo Stilley, and more recently of course, the ever-provocative Gaspar Noé giving audiences a 3-D cum facial with his film Love.īut 2017 has offered the most tasteful, nuanced portrayals of cum yet - and in the sorts of award-winning projects you wouldn’t have expected to see semen in the past. And just a few years ago, Girls showed Adam’s (Adam Driver) sperm all over Natalia’s chest (Shiri Appleby) in the season-two episode “On All Fours.” (All in all, HBO has really been the go-to network to let male ejaculate fly.)įilm has certainly taken bolder strokes, but cum often showed up in movies that rode the line between pornography and art. On the short-lived Tell Me You Love Me, Adam Scott wore a prosthetic penis that eventually choked out some hair conditioner.
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On the TV front, you’ll recall the episode of Sex and the City, where Carrie Bradshaw and the rest of the women attend a tantric sex workshop and Miranda gets caught in the crossfire of some male ejaculate that looked like Elmer’s glue. Cum is hitting the mainstream, baby!īut before we dive in, we’d be remiss not to point out cum’s prior appearances. What’s particularly salient about this year, though, is placement: Cum appeared in respectable, prestige film and TV projects like Insecure and Call Me by Your Name. This year, the baby-making fluid came at us fast and loose, onto screens big and small, into romances both gay and straight, stories both dramatic and comedic. But at last, in 2017, our screens have runneth over with the fountain of youth: cum, the sticky coital leftover conveniently and historically ignored in sex scenes, is making a splashy debut. With each passing year, television and film edge closer to portraying the reality of sex, whether it’s through the female gaze, hand jobs, or the strap-on.