Paul (Stewart) may be disabled but he’s still able to get it up, as proven in the explicit scene in which he lures sex kitten Karma (Szlasa) into his bed, before wrapping his hands around her throat. A trip out of the city for inspiration leads to a late night of wine and physical connection, in which Lucy coaxes Syd through sex. The ‘first gay experience’ setup makes it lovably awkward and the performances give it beauty. Pichul’s nihilistic drama, an enduring emblem of the Soviet Union during perestroika, follows a wild Russian girl as she falls in love with a man whom her family violently disapproves of. Having rescued curvy Miriam from being sold to the highest bidder, Aladdin gets her alone and the animation turns extremely trippy: Think purple skin tones and lots of floral motifs.

We could have gone for the scene that gave American Pieits title, because – let’s face it – the sight of a teenager screwing baked goods remains pretty groundbreaking. But instead we prefer the moment where Jim (Biggs) is seduced by his flexible East European houseguest (Elizabeth), but sadly steps off the love train a stop or two early. Amid the film’s labyrinthine not-exactly-plot, Hollywood wanna-be Betty (Watts) and amnesiac Rita (Harring) find a dead woman in a stranger’s apartment. They freak out and return home, where eventually the mood changes and they have sex for the first time. It’s love, it’s confusion, and it’s extremely memorable.

Mitchell plays Syd, a straight art-world ingenue who becomes tangled up in the tense emotional web of Lucy (Sheedy), a famous and reclusive photographer in Cholodenko’s debut feature. When Emperor Wang of the planet Porno uses his ‘sex-ray’ on planet Earth, it inspires all sort of kinky behavior. You get the picture. Film director Pablo (Poncela) meets a young man named Antonio (Banderas) and takes him home. The sex, Antonio’s first time with a man, is a lighthearted affair that sets in motion a much tenser series of events. Gregg Araki’s first hit is a major watermark in New Queer Cinema, a gay riff on Thelma & Louisewith an AIDS-era fire in its belly. Broomfield’s HBO documentary is a profile of Pandora’s Box, one of New York City’s premier S&M establishments.

After some smoldering chemistry and a spot of light plumbing, Corky (Gershon) and Violet (Tilly) fall hard for each other – at least, as hard it’s possible to in a movie where no one seems entirely trustworthy. Before long, they’re naked on Corky’s mattress, out of sight of Violet’s mobster boyfriend Caesar (Joe Pantoliano). There are a number of appropriate moments in this edge-of-madness, edge-of-genius antidrama. But the scene in which Spader rubs himself up against the stitched wound of fellow accident victim Hunter’s leg in a car park has to be the most worryingly memorable. This hugely popular slice of 1970s French erotica tells of Emmanuelle (Kristel), an expat living in Thailand who liberally sleeps with men and women – mostly for our pleasure, of course. Cary Grant is a New York ad man mistaken for a spy and pursued across America by a shady cabal, sending him scurrying through cornfields, scaling Mount Rushmore and eventually crawling into the arms of femme fatale Eva Marie Saint, who might also be playing him for a mark.Shortly after the invention of motion pictures in the 1890s it was only a matter of time before some bright spark stumbled on the artform’s risqué potential. And in 1896, director Albert Kirchner coaxed actress Louise Willy to strip in front of the camera. It’s more the buildup of sex scenes that made Emmanuellesuch a hot property. Moments of masturbation, several lesbian scenes and a shot of a woman smoking a cigarette with her vagina fell foul of the censors. A one-of-a-kind masterpiece, Pedro Almodóvar’s sex comedy-cum-melodrama is a gay love triangle – and a prime example of his genre-bending 1980s style. Shirtless, sweaty and still armed, El Nene (Sbaraglia) and Ángel (Noriega) find themselves immensely turned on at an incredibly inconvenient moment. Shot from above, sprawled out on the ground with their heads together, the two men become a strikingly fired-up image of throbbing sexuality in a closeted time.