Let’s Gawk about Sex

“Bahahahha,” says sex. “That’s not what I do…69 DUUUUUUUUUDES!” and runs off giggling.

Every generation rediscovers sex, or so the saying goes, but with the new wave of sex comedies, it’s the older generation lecturing the younger ones, “Hey, kids, sex is cool.”

The Invite , I Want Your Sex and the upcoming (heh…) Wicker are only a few of the recent films that use intimacy and all its entanglements to go deeper into human behaviour.

The reaction is almost as interesting as the films themselves. Essays and op-eds in places like the Guardian and the Atlantic press to know, “What’s all this sex stuff about, then?” It’s better if you say it with a Cockney accent.

The internet has also outdone itself in coming up with the most ridiculous memes, featuring Ikea furniture, wicker baskets and actor Alexander Skarsgård in the horny silliness engendered by the Wicker trailer . I can only imagine the outpouring when the actual film comes romping into theatres.

One of the most interesting of the recent sexy cinematic releases is The Invite (still in theatres and streaming now in Canada on Video on Demand). Based on a stage play from Spanish writer Cesc Gay who then adapted it into an independent film, the story has since been the basis for seven different iterations in countries around the globe.

The English language version is directed by American filmmaker and actress Olivia Wilde ( Booksmart ), who also takes on one of the title roles. Alongside Wilde, the film features Vancouver’s Seth Rogen, Penélope Cruz and Edward Norton, all in tip-top form.

The Invite is a hit and deservedly so. It is one of those rare films for adults that makes you laugh, wince and get wildly emotional. Excruciating but also extremely funny, it’s a movie you watch between your fingers.

I saw it in a theatre with other people obviously having volatile reactions to the story as the spontaneous groans, laughter and pained sighs made explicit. We all should have shared a collective smoke after the film was over.

Set almost entirely in one San Francisco apartment, the film is very much a chamber piece, but this insularity serves a point. We see the main characters Angela (Wilde) and Joe (Rogen) briefly out in the wider world. Joe is depicted not listening to a torturous jazz standard at the music conservatory where he works, while Angela is busily preparing a lavish dinner party, buying fancy cheese, flowers and charcuterie. The minute the couple meet up in the vestibule of their apartment the muttering violins in the film’s score tell you everything you need to know. Things are not going well between these two.

He hates his job. She hates her life. They each blame for the other person for their towering level of dissatisfaction. Also, they’re not having sex. More on this particular crimp in the relationship later. First there’s a dinner party to prepare for.

Even as Joe is maintaining that he wasn’t informed, isn’t into it and forgot to get wine, Angela is changing outfits, fixing her hair and is obviously close to epic meltdown.