BDSM (Bondage & Discipline, Dominance & Submission, Sadism & Masochism) became a household name ever since the release of “Fifty Shades of Grey” in 2015. However, the cinematic portrayal of BDSM had its early encounters even in the nascent years of cinema. Right from early silent cinema to contemporary movies, the theme or trope of BDSM has traversed a diverse landscape, reflecting the intricate interplay of power dynamics, human desire and sexuality, and societal attitudes. From the veiled insinuations of early cinema to the more explicit explorations of recent years, filmmakers have grappled with representing these complex and often misunderstood aspects of human sexuality.
The representation of BDSM in cinema has evolved over time, mirroring changing public opinion, censorship norms, and artistic expression. While some movies have been praised for their nuanced portrayals and exploration of emotional connections within BDSM relationships, others have faced criticism for sensationalism or inaccuracies in depicting these practices. The BDSM community has particularly indulged in being vocal about the stereotypical and misinterpreting representations of BDSM practices. In the aftermath of sparking controversy and debate, there has been a shift toward more authentic portrayals of BDSM relationships, emphasizing consent, communication, and emotional connection.
The initial depiction of BDSM was constrained by stringent censorship and societal taboos regarding explicit content. In Malcolm St. Clair’s silent film “A Woman of the World” (1925), the climactic scene features a furious Pola Negri taking a horsewhip to the district attorney and crusading reformer who is secretly in love with her. In Georg Wilhelm Pabst’s “Pandora’s Box” (1929), Louise Brooks plays Lulu, an innocent showgirl, whose relationships and interactions with other characters resonate with BDSM dynamics. These coded representations hinted at themes of dominance and submission without explicit portrayal, utilizing subtlety and suggestion within narrative frameworks to convey these notions.
During the 1960s and 1970s, a cultural shift occurred in cinema after the abandonment of the Hays Code, allowing more explicit explorations of sexuality and unconventional sexual dynamics. These films were often adaptations of famous works of BDSM literature or inspired by the works of the Marquis de Sade, whose perverse sexual preferences and erotic writings gave rise to the term sadism.
Alain Robbe-Grillet’s “Trans-Europ-Express” (1966), an avant-garde part sex romp, part thriller film, is one of the earliest films with heavy doses of sadomasochism on screen. Images of Marie-France Pisier in a rape and bondage fantasy have become the iconic marker of the film and it has an exciting evocation of the fantastic imagined possibilities for sexual desire. The breakthrough came in the 1970s with the erotic drama “Story of O” (1975), adapted from the controversial 1954 French novel of the same name by Pauline Reage. This film boldly delves into explicit BDSM themes, following a woman’s journey into the world of submission. It marked a pivotal moment, challenging cinematic norms and opening doors for more candid explorations of sexuality.
The subsequent decades witnessed a range of films delving into BDSM dynamics with varying approaches. These films, which fused romance, desire, sex, power, and suffering, delve deeper into the dark zones of the human psyche. Despite the unrealistic portrayals, there are a lot of mainstream movies targeting wider audiences that present BDSM relationships beyond physical acts. Here’s a list of films that prominently feature themes of BDSM with varying degrees of sensitivity, realism, and artistic interpretation in their storylines or character dynamics. Let’s get down to the kinky business then! Happy Reading!
20. The Feeling That The Time For Doing Something Has Passed (2023)
I like it when you tell me what to do.
Considering there are a lot of genre films that play with licentiousness and all kinds of deviations, Joanna Arnow’s sophomore feature “The Feeling That the Time For Doing Something Has Passed” is probably one of the most authentic and idiosyncratic depictions of BDSM in day-to-day inhabited lives in recent times. Structured in a series of vignettes, this partly-riveting, partly-bleak character study focuses on Ann (Joanna Arnow), a sullen New Yorker in her 30s, and her relationships with various men.
Ann spends her daytime ordered around by her boss while she submits to the sadomasochistic commands of her various male doms at night. She has been in a casual BDSM relationship for nine years with Allen (Scott Cohen), an older divorced man, who has trouble remembering nitty-gritty details about her. Caught in this disregard for her individuality from her workplace and her relations, Ann tries to navigate through her life, and tries to prove a point: neither cares about her needs.
The film deliberately illustrates that consensual BDSM encounters can be marked by humiliation, monotony, or even joylessness, challenging conventional narratives surrounding such experiences. The frankness with which Arnow allows herself to film her own nude body is mortifyingly realistic and exposes her emotionally hazy self. Each vignette feels like a separate story yet it all hits an uncomfortable note of ritualized abjection of erotic humiliation. The deadpan style of humor employed throughout reflects the emotional neutrality and stagnant inertia that trap Ann. If you are looking for a film about a millennial woman dramatically altering the course of her life, this is not for you. However, if you are looking for her journey toward accepting the realities of existence—its triumphs and setbacks, dive right in.
19. The Notorious Bettie Page (2005)
God gave me the talent to pose for pictures and it seems to make people happy. That can’t be a bad thing, can it?
“The Notorious Bettie Page” may not be your typical BDSM movie, as it doesn’t focus on a dominant-submissive relationship or the intricate balance between pain and pleasure. But Mary Harron’s biopic on the ‘Queen of Pinups,’ Bettie Page, deserves a spot on this list for her involvement in the world of BDSM photography. BDSM practices started gaining mainstream visibility outside of counterculture in the Western world, with Page’s erotic photos making the rounds with elements of bondage and restraint.
A cultural icon in the 1950s, Bettie Page’s fully nude and bondage role-play photoshoots exhibited in countless fetish-oriented magazines brought pinups to life, escalating the interests of the kinksters in fetish art. The film explores the life of Bettie Page (Gretchen Mol), a naïve, ambitious, and devout Christian woman who leaves Nashville, Tennessee, following a childhood of sexual abuse, a failed marriage, and gang rape, to be a whirlwind in the world of pornography.
“The Notorious Bettie Page” is a fascinating reflection of a sophisticated and sympathetic woman who is misunderstood due to the sexual nature of her work. One of the standout aspects of the film is its visual style, which cleverly emulates the look of 1950s photography and cinema. The use of black and white, alongside vibrant colors for certain sequences, effectively mirrors the duality of Bettie’s public persona and her private struggles.
Gretchen Mol delivers a compelling performance, portraying Bettie as both a confident and complex character, who inadvertently fought for women’s autonomy over their bodies and identities. Harron deconstructs the male gaze by not making the film racy and overtly erotic, intending to never be seedy or exploitative. By emphasizing her agency and the cultural significance of her work, Mary Harron prompts us to appreciate Bettie Page as a trailblazer in the conversation around sexual liberation.
Also, Check: 20 Best Black and White Movies of the 21st Century
18. Leap Year/ Año Bisiesto (2010)
You can do whatever you want to me.
A chamber piece psychosexual drama best describes Aussie director Michael Rowe’s Mexican debut feature “Leap Year.” Haunting and unpredictable in the strictest sense of the word, it is a minimalist, experimental narrative that serves as a psychological study of a young woman’s descent into extreme sexual behavior and self-destruction. The film chronicles twenty-nine days in the life of Laura Gomez (Monica del Carmen), a 25-year-old troubled and melancholic freelance journalist who moved from her rural background in the Mexican province of Oaxaca to Mexico City in search of escape from her tragic and traumatic past. Into her monotonously painful and lonely existence enters Arturo (Gustavo Sanchez Parra), who takes control of her emotionally fractured self. Seeking relief from her heartache, Laura becomes entangled with the enigmatic and sadistic Arturo, leading her into a world of perverted sadomasochistic fetishes and dehumanization.
Winner of the Camera d’Or prize at the Cannes Film Festival, this devastatingly unsettling drama lets actions speak louder than words, and the actions are frightfully explicit. Monica del Carmen delivers a commanding performance as Laura, presenting a naturalistic portrayal of a lonely woman, that is both hard-hitting and frighteningly real. Laura’s character achieves remarkable depth, thanks to Rowe’s ability to immerse viewers in the same urban solitude and depression she experiences, evoking sympathy for her masochistic submission. Rowe’s storytelling and direction—cautiously observed and serenely conveyed—make the film surprisingly authentic and genuinely felt, even during the heavy-duty sex scenes. This soul-baring arthouse cinema offers a character study of a victim of love, lust, and loneliness, where its transgressive eroticism ultimately serves as an expression of compassion for deeply wounded women. While it transcends mere kink, viewers should proceed with caution, as the experience may be profoundly saddening.
17. Sanctuary (2022)
You want to be reprimanded for what you fear are inherent flaws and then rewarded for coming into compliance.
The premise of Zachary Wigon’s sophomore feature “Sanctuary” is interesting. Hal Porterfield (Christopher Abbott), a soft-shelled, self-loathing wimp and wealthy hotel heir, is trying to get rid of his confidence-boosting dominatrix Rebecca (Margaret Qualley), who taught him to have a spine through a carefully curated world of scripted scenarios involving humiliation and debasement. As the successor of the billion-dollar-worth luxe Porterfield chain of hotels and steeled by entitlement, Hal feels that availing the services of a sex worker is inappropriate and might affect his claim to the empire. When Hal gifts Rebecca a $30,000 timepiece as a retirement gift, she feels that she deserves more, having spent all her time and energy building him back up again.
This two-handed chamber piece drama shows how the practice of BDSM is employed to unlock one’s deepest yearnings. In their uncommon transactional relationship, we see the blurring of lines between role-playing and reality, vying for control over the other and over oneself. The banter between the leads is razor-sharp and often hilariously uncomfortable, highlighting their chemistry and familiarity. At one point, the characters are having a sophisticated conversation while at the next, they are smashing lamps and having a tense powerplay of dominance and submission. In this psychosexual tussle of manipulation and shifting emotional dynamics, the twisty duo becomes a bedeviling riddle to each other. Wigon’s filmmaking tries hard to make this game of cat-and-mouse both thrilling and erotic, and it comes through with sowing results.
16. Bitter Moon (1992)
Everyone has a sadistic streak, and nothing brings it out better than the knowledge you’ve got someone at your mercy.
Roman Polanksi, known for his dark and disquieting films, has indulged in playful and perverse tales of desire and sadomasochism. While his 2013 directorial “Venus in Fur” deals with themes of female dominance and sadomasochism through the lens of a vivacious sexual romp between a director and an actress, “Bitter Moon” is audacious, wickedly entertaining, and artfully deceptive. An ironic mix of pitch-black comedy and erotic thriller, the film follows the story of a couple, Nigel (Hugh Grant) and Fiona (Kristin Scott Thomas) who encounter the enigmatic and alluring sexpot Mimi (Emmanuelle Seigner) and her sardonic paraplegic husband, Oscar (Peter Coyote) while on a cruise. When Oscar buttonholes Nigel with the story of how they explored bondage, sadomasochism, and voyeurism in Paris, a disturbing narrative unfolds.
“Bitter Moon” is characteristically atmospheric as a striking slice of huis clos drama between two couples, using the setting of a lavish Parisian apartment to create a claustrophobic sense of intimacy. Polanski’s direction allows you to immerse in the twisted dynamic of the character and the effective use of flashbacks to the storytelling adds layers to the film’s psychological depth. The film’s eroticism is explicit and symbolic, pushing boundaries while raising questions about the nature of love and its potential for pain. Polanski’s choice of music and sound design further heightens the emotional impact, highlighting the inner turmoil and foreboding of the characters. His trademark blend of dark humor and tragedy resonated throughout the film, making it a thought-provoking and seductive, if unsettling, viewing experience.
15. S&M JUDGE (2009)
That’s what l want. To be tied up and dominated. l want you to hurt me, Koen. It’s been my fantasy for thirty years.
Imagine a film that elegantly juxtaposes stark courtroom scenes and sultry BDSM settings – that’s the best way to describe Erik Lamens’ Belgian erotic drama “SM Rechter/ S&M Judge.” Who knew a courtroom could be so stimulating? Based on a tragic real-life court case, it follows Koen Allegaerts (Gene Bervoets), a bourgeois Belgian in his early 40s, who leads a double life as an upright local district judge by day and a BDSM enthusiast by night.
Though Koen is unhappy to inflict pain on his beloved wife Magda (Veerle Dobbelaere) at first, he learns gradually that she craves a dark sexuality. She always dreamed of engaging in sadomasochistic practices but has never dared to ask. He reluctantly agrees to her demands, creating an atmosphere that’s both serious and cheeky. However, when a colleague tries him for sex work and maltreating his S&M-happy wife, he is convicted, provoking a bold discussion on authority and desire.
The film stands out for its performances – Koen’s transformation from a gentle, loving, and bewildered husband to a dominant wielding whip and Magda’s transformation from a depressed and divorce-seeking woman to a caring wife. Lamens’ storytelling at times makes us wonder whether a bit of kink and vibrant sex life is all it takes to avert a divorce. The film’s emphasis lies more on judicial injustice and the need to satisfy the partner’s sexual needs. Told from the lover’s unique point of view, the film never becomes sleazy or particularly explicit, but it also doesn’t shy away from the truth. This wild ride through the legal system and the kink community proves that love conquers all, no matter what kind of love, and even judges can have a little fun behind the bench.
14. A Dangerous Method (2011)
I want you to punish me.
Body horror maestro David Cronenberg, known for his trademark affinity to stomach-turning gore and cynically perverse and subversive narrative, explored sadomasochism and sexual fetishism early on in films like “Videodrome” (1983) and “Crash” (1996). A decade and a half after “Crash,” Cronenberg returned to trace the psychology of BDSM through the study of the intricate relationships between three pivotal figures in the early days of psychoanalysis: Carl Jung (Michael Fassbender), Sigmund Freud (Viggo Mortensen), and the enigmatic patient-turned-analyst Sabina Spielrein (Keira Knightley). Based on Christopher Hampton’s play “The Talking Cure,” the film navigates through Jung’s burgeoning career and his intense relationship with Sabina, who has a fondness for bondage, spanking, and beating, and his mentorship under Freud.
While the film may primarily attract those interested in the intellectual discussions surrounding psychology and history, its notoriety stems from its fearless exploration of transgressive sex fantasies and carnal desires. It raises compelling questions about sadomasochistic tendencies rooted in early childhood experiences and unresolved conflicts. The narrative certainly doesn’t hold back in addressing the complex spectrum of sexual desires used as psychotherapy, probing into the ethics of therapist-patient relationships and how personal trauma shapes sexual identity. Michael Fassbender embodies Jung’s charisma and vulnerability, while Keira Knightley delivers a standout performance as Sabina, portraying her transformation from a troubled patient to a self-assured analyst. Cronenberg’s direction is both restrained and visually captivating, effectively capturing the period’s aesthetics and the palpable sense of connection and disconnection between the characters.
A film that pairs perfectly as a double bill with “A Dangerous Method” would be Angela Robinson’s “Professor Marston and the Wonder Women” (2017). This biographical drama delves into the life of Dr. William Moulton Marston, the creator of Wonder Woman, highlighting his fascination with BDSM and polyamory.
Also, Read: The 7 Best Body Horror Movies of All Time
13. Nymphomaniac Volume I & 2 (2013)
Sexuality is the strongest force in human beings. To be born with a forbidden sexuality must be agonizing.
If there is one director adept at transitioning from disturbing tragedy to horror to perversion and sexual arousal, it’s Lars von Trier, one of cinema’s foremost provocateurs, known for his manipulative filming style. Following the shockwaves created by “Antichrist” (2009), in which a woman grappling with grief descends into increasingly violent sexual behavior and sadomasochism, Trier returns with “Nymphomaniac,” a sex odyssey in two volumes in which a self-diagnosed nymphomaniac Joe (Charlotte Gainsbourg) recounts her erotic escapades to the man Seligman (Stellan Skarsgard) who saved her after a brutal beating. While the first volume focuses on Joe’s awakening sexuality and her various sexual adventures, the second volume confronts her struggles with hypersexuality and her experiments as a sexual deviant in satisfying her compulsive sexual disorder.
These two volumes paint a candid, often unflinching and uninhibited portrait of the age-old Freudian dilemma: “What does a woman want?” Narrated in a non-linear, modern-day Scheherazade style, this four-hour-long narrative serves as an endless speculation on female libido and society’s fixation on love. One of the most shocking and harrowing segments features Joe’s encounters with K, a seemingly demure S&M practitioner played by Jamie Bell, especially in a particularly brutal scene where Joe is mercilessly whipped with a cat o’ nine tails. This film has sparked a lot of controversy for its divisive interpretation – while some see it as misogynistic and heavily influenced by a male perspective, others see it as a complex and nuanced exploration of female sexual agency. Charlotte Gainsbourg’s raw and soul-baring performance in Trier’s films renders her characters profoundly relatable, even amidst their provocative and tumultuous circumstances.
12. 9 1/2 Weeks (1986)
We never make rules we don’t intend to break.
Director Adrian Lyne’s erotic romance “9 1/2 Weeks” is not just about heated moments, steamy and salacious encounters, or tantalizing food play, it’s a recipe for a whirlwind romance marked by intimacy, power dynamics, control, and the exploration of intense desires and boundaries in relationships. It is an emotionally charged journey that focuses on the relationship between Elizabeth (Kim Basinger), a young art gallery assistant, and John (Mickey Rourke), a mysterious and devastatingly handsome Wall Street trader. Their sexual chemistry is palpable and involves blindfolds, artfully arranged food, and cross-dressing rendezvous that are guaranteed to fog up your kitchen windows. The film sauté through a smorgasbord of visual seduction and reminds us that even the most mundane activities—like grocery shopping—can be elevated to new heights of sensuality.
Their intense yet complex relationship subtly extends suggestions of dominance and submission though there is surprisingly little bondage or sadomasochism. In the stimulating sexual power games choreographed by John, he dominates and takes control, and the control extends beyond the bedroom, encompassing aspects of Elizabeth’s daily life and choices. One of the most racy scenes shows a gastronomic adventure – a food play – in which the act of feeding becomes an act of dominance and submission, as John exerts control over Elizabeth’s senses and desires. Celebrated for its visual aesthetics and bold performances, along with the carnal pleasures it offers, “9 1/2 Weeks” is a film that explores an unconventional relationship that traverses the realms of pleasure and emotional torment which blurs the lines between consensual exploration and emotional manipulation.
11. Preaching To The Perverted (1997)
All scenes are based on consent. Parameters must be clearly stated.
Stuart Urban’s offbeat sex comedy “Preaching to the Perverted” might be the first full-fledged fetish feature film that dives headfirst into the world of BDSM, religion, and social norms with the subtlety of a sledgehammer—if that sledgehammer were also wearing leather and wielding a whip. Set in London, this indie film is a sharp satire of the battle between sexual freedom and societal repression. The plot follows Peter Emery (Christien Anholt), a charmingly naive computer wizard, working for a conservative MP, infiltrating a local BDSM club called ‘House of Thwax’ to get evidence to shut down its operations. Instead, the virginal Peter falls head over heels in love with its proprietress/dominatrix Tanya Cheex (Guinevere Turner), and discovers that the world of whips and chains is not as sinister as it seems.
Conceived as a reaction to Operation Spanner, the film offers a delightfully full-blown romp through the often misunderstood world of kink, highlighting the principles of consent and boundaries that underpin any sadomasochistic encounter or relationship. The film embraces a playful sense of kitsch and tickles your funny bone with a series of comedic escapades and delightfully absurd characters.
The dialogue is sharp and witty and often leaves you wondering how the characters manage to keep a straight face amidst the chaos. The humor is edgy and irreverent and it pokes fun at both the absurdity of censorship and the hypocrisy often found in moral crusades. While some scenes might raise your eyebrows to the roof, the film ultimately champions the idea of sexual liberation and the right to explore one’s desires—an empowering message wrapped in comedic absurdity. I must say “Preaching to the Perverted” and Garry Marshall’s comedy thriller “Exit to Eden” (1994) would make a good double feature.
10. The Image (1975)
She belongs to me.
Unlike many films in its genre, French filmmaker Radley Metzger’s “The Image/ The Punishment of Anne” stands out in erotic cinema for its direct and intense exploration of bondage and sadomasochism. Based on Catherine Robbe-Grillet’s novel of the same name, the film centers on a complex, secretive relationship between a dominant mistress Claire (Marylin Roberts), and her submissive slave Anne (Mary Mendum). Into their equation comes Jean (Carl Parker), a writer and an old acquaintance of Claire, who is struck by the beauty of Anne. Set in a world of luxurious decadence and sophisticated desire, the film unfolds through the eyes of Jean—who becomes an observer and occasional participant in their intense and often unsettling interactions. Jean is gradually drawn into their world, culminating in a triangular relationship, where the slave satisfies the the voyeuristic desires of both the mistress and the writer.
Released during the Golden Age of Porn, at a time of “porno chic,” “L’image” is remarkable for its unrestrained exploration of eroticism and psychological intrigue. Even though it comes close to being a pornographic affair with explicit and, at times, lurid and sleazy fetishes, Metzger’s direction brings a refined aesthetic to the film with its intricate visual compositions, hauntingly evocative score, poetic narration, and unusual artistry.
Divided into ten episodes, each divulging the nature of their S&M relationship, the film culminates in a chamber scene where the slave is tortured to no end, exhibiting the unspoken psychological leveraging that makes it all so compellingly complex. The juxtaposition of acts of violence with the pastoral and serene French backdrops has a truly intense and eerie effect. It goes without saying that “The Image” isn’t for everyone. For those who have a fleeting whimsical interest in S&M, it will quicken your heart rate and put you in the right mood, but for those who haven’t, it can be difficult to watch. But if you can stomach it, it’s definitely recommended.
9. Dogs Don’t Wear Pants (2019)
Dogs don’t stand on two legs.
The title of J-P Valkeapää’s erotic black comedy is misleading. It is less about canines and more about the intricate dance between pain and pleasure, navigating a tender line between grief and newfound desires. It might surprise you that it is also a deeply romantic yet atypical love story. The film follows Juha (Pekka Strang), a grieving widower, struggling to cope with the loss of his wife in a tragic drowning accident. In an unexpected turn of events, he finds solace and a form of catharsis through the world of BDSM, specifically with a dominatrix named Mona (Krista Kosonen). Whips and chains excite Juha as it is a pathway to his healing from his emotional turmoil. To reconnect with his wife, Juha goes down the rabbit hole of his fatal addiction to suffocation and it is reciprocated by Mona leading them towards emotional connection, intimacy, and enlightenment.
“Dogs Don’t Wear Pants” is not your typical exploration of grief and loss. It’s wrapped in a delightfully bizarre package, combining a serious and raw approach, with quirky and funny moments, occasionally disturbing and ultimately cheerful. The success of the film lies in how the film incorporates BDSM elements into the narrative without presenting them in an overtly explicit or gratuitous manner. Alternatively, it serves as a metaphor for Juha’s search for emotional release and rediscovering life’s pleasures, even if those pleasures involve a leather suit and a leash. The film is compelling for its heartfelt open-mindedness to sexuality that emphasizes mindfulness, sensitivity, and compassion. Valkeapää’s bold direction captures the emotional landscape of the characters, using stark contrasts between the mundane and the intimate. Without a doubt, it will keep you intrigued from start to finish.
8. The Duke Of Burgundy (2014)
I love you. I know I have a different way of showing it. But I love you.
When you are in love, just how far you’ll go to please the one that you are in love with? Welcome to a world where butterflies reign supreme and relationships come with a very detailed instruction manual! In Peter Strickland’s erotic romance “The Duke of Burgundy,” Evelyn (Chiara D’Anna) is studying lepidopterology under the older Cynthia (Sidse Babett Knudsen), a professor who studies butterflies and moths. Beyond their student-teacher relationship, they are in a dom/sub-lesbian relationship where they enact an elaborate sadomasochistic fantasy as mistress and maid, day in and day out. Cynthia, the ostensible mistress, seems less certain of herself, but Evelyn, the servant, is more eager, and more in control, orchestrating instructions and scripts for role-playing, a dynamic which appears to be topping from the bottom. Their choreographed rituals become taxing and exhausting for Cynthia but she tests the limits of her relationship to satisfy her lover.
“The Duke of Burgundy” isn’t quite a May-December romance, but a sensual and artistic exploration of intimacy, desires, and quirks in an eccentric relationship. Just like the delicate elegance of a butterfly’s wings, it invites us into a whimsical universe with sumptuous visuals and a hypnotic score. It is distinct as it showcases a female dom, which is an uncommon occurrence, and the struggles a lesbian couple goes through to add spice to quench each others’ kinky and carnal tastes. It also focuses on aspects like communication, trust, and the emotional labor involved in sustaining a relationship.
The absence of male characters, the surreal tone, and the use of repetition in the narrative emphasize the insular world these women inhabit—one that is both claustrophobic and mesmerizing. Ultimately, it is more than an exploration of fetishistic desire; it is a meditation on the fragility of relationships, the yearning for connection, and the delicate balance between dominance and submission. Alongside this grave and humorless film, I will also suggest you look for “S&M Sally” directed by Michelle Ehlen, a low-budget indie comedy in which lesbian couple Jill and Jamie explore their S&M fantasies.
7. The Bitter Tears Of Petra Von Kant (1972)
I just wanted to possess her.
German New Wave director Rainer Werner Fassbinder’s obsession with the cinematic use of and political interest in masochism is evident in both “The Bitter Tears of Petra von Kant” and “Martha” (1974). He remarked, “There is no such thing as masochism without sadism. And relationships between people are always sadomasochistic as a direct result of their upbringing.” While “Martha” portrays complex sadomasochistic tendencies exhibited in an oppressive, bourgeois marriage, “The Bitter Tears of Petra von Kant” explores the socio-sexual tension and power struggle in a triangular relationship. It tells the story of Petra von Kant (Margit Christensen), an egomaniacal fashion designer, who dives into an S&M dynamic with her submissive maid Marlene (Irm Hermann) right after her divorce. The plot thickens when Petra becomes infatuated with the coldly beautiful Karin (Hanna Schygulla), complicating her already misguided quest for romance.
Based on Fassbinder’s own obsessive S&M relationship with a handsome young actor, “The Bitter Tears of Petra von Kant” explores the tortured connections between desire, power, and liberation. This six-piece chamber drama, unfolding in an over-the-top apartment that would beat a modern art gallery, is shot in the style of a melodrama with acts featuring only a single camera shot for each scene. Fassbinder creates a tumultuous mono sex universe of love and intrigue and his masterful direction captures the complexities of human sexuality with elegance and finesse.
This psychological character study is particularly intriguing for its ambiguous representation of masochism as a mechanism for liberation. The raw and pulsating sexual tension between the three women is palpable and their equation is beautifully complimented by some astounding performances from the leads. The melancholic world of Petra von Kant is perfect for anyone who’s ever loved too fiercely and endured the heartache that often follows.
6. Maitresse (1976)
It’s very exciting. It’s fascinating to get into people’s passions so intimately.
Directed by Barbet Schroeder, “Maîtresse” (“Mistress”) invites you to the most elaborate game of “Who’s in control?” In this French erotic comedy, Gérard Depardieu stars as Olivier, an inexperienced crook, who becomes infatuated by the enigmatic and alluring leather-clad dominatrix, Ariane, portrayed by Bulle Ogier. In this distant cousin of “Fifty Shades of Grey,” Olivier stumbles into the subterranean world of sadomasochism when he breaks in to rob an apartment he thought was unoccupied. Soon he realizes that the apartment’s mistress runs a two-floor operation – a respectable lady on the upper floor and a dungeon of pain below where she doles out punishments and spankings for her slaves and submissives. When Olivier enters her life and begins to help her “train” her clients, the boundaries of her meticulously organized life start to blur.
If you’re in the mood for a film that mixes existential pondering with a side of whips and chains, “Maîtresse” has you covered. At once a conventional love story and a dark study of fetishism, the film delves into themes of control, desire, and the boundaries of human relationships, challenging conventional notions of morality and eroticism. Schroeder’s direction is both audacious and nuanced, using striking visuals and aesthetics, capturing both the beauty of Paris and the interesting décor of the dominatrix’s lair. The performances are compelling, particularly Ogier’s, who embodies both strength and vulnerability. The unapologetic approach and rich character study make it a standout piece in the genre of erotic cinema.
5. Story Of O (1975)
O wondered why charm and terror were so mixed, why terror was so sweet.
An adaptation of Pauline Reage’s 1954 hit erotic novel “Histoire d’O,” Just Jaeckin’s “Story of O” is a bizarre, artsy, sadomasochistic wet dream that explores the dynamics of male domination over women and women’s submission to male power. Despite it being a female-oriented narrative, it often comes across more as an exploitative male fantasy rather than a genuine exploration of female desire. The plot centers on O (Corinne Cléry), a beautiful fashion photographer, who willingly enters a world of sexual submission at the hands of her lover, René (Udo Kier). She is taken to a secluded château where she undergoes a series of increasingly intense experiences meant to test her devotion and obedience. After her “special training” at the BDSM retreat, Rene gives her to his older half-brother, the sophisticated Sir Stephen (Anthony Steel), with whom she eventually finds herself falling in love.
“Story of O” is nothing short of soft-core arthouse porn, but it deserves a spot here for it suggests that O’s submission is a conscious choice that grants her a sense of agency. It is unapologetically explicit with the amount of nudity and scenes of whipping, branding, humiliation, and fetishistic acts. The jaw-dropping turn of events in the last act is so disturbing and beguiling that you’ll wonder if anyone would agree to that kind of humiliation. It reeks of kitsch for sure but it will still shock you with its depiction of deviant sexuality and complexities of desire and love. At its core, it is one of the most provocative and controversial films addressing domination, bondage, and true surrender that I have ever experienced.
If you find this your cup of tea, then you must also check out “Fruits of Passion” directed by Shūji Terayama and starring Klaus Kinski and Arielle Dombasle. Touted as a sequel to the “Story of O,” this sexually abrasive film shows O being subjected to more humiliating experiences in a Chinese whorehouse.
4. The Night Porter (1974)
I was fifteen. He was 30. He taught me how to love, and he taught me discipline.
Liliana Cavani’s much-controversial film “The Night Porter,” accused of being ‘Nazi porn’ for its visual depictions of Nazism and aberrant sexuality, seamlessly intertwines a story that’s part avant-garde romance, part historical drama and entirely a probe into the self-destructive behavior of the human psyche. Set in post-World War II Vienna, it tells the forbidden love story of Lucia (Charlotte Rampling), a survivor of a concentration camp, and Max (Dirk Bogarde), a former SS officer who once served as her tormentor and lover in the camp. Their unconventional and deviant relationship is renewed when they meet years later at a hotel where Max now works as a night porter, concealing his past and avoiding prosecution. Their unforeseen meeting set off memories of their sadomasochistic relationship and they reverted to their former roles, reigniting their toxic bond.
Despite being a polemic and contentious film, “The Night Porter” is a bold attempt to address the taboo subject of loving one’s abuser. It blurs the line between victim and perpetrator, love and abuse, and delves into the psychological effects of trauma and the complex ways in which individuals cope with their past. The film is infamous for its stark imagery and fetishization of violence, especially in the eerie and sadistic cabaret-style performance by Lucia where she sings “If I Could Make a Wish” for her SS captors. The cold and muted tones utilized in the film perfectly align with the emotional aloofness and bleakness of the character’s inner lives. It remains a divisive film, provoking discussions about transgressive romantic relationships within the context of the Holocaust and the portrayal of post-war trauma in cinema.
3. Secretary (2002)
Who’s to say that love needs to be soft and gentle?
Before the sensational Christian Grey and his notorious Red Room of Pain, there was Mr. E. Edward Grey who introduced the BDSM lifestyle to everyday viewers. Steven Shainberg’s “Secretary” is a dark and sensual romantic comedy-drama that revolves around the unconventional romance between a dominant lawyer and his submissive secretary. Lee Holloway (Maggie Gyllenhaal), the queen of clumsiness and a magnet for workplace mishaps, discovers that her submissive desires and inclination toward masochism align with Edward’s (James Spader) dominant tendencies. They enter into a consensual BDSM dynamic, characterized by a power exchange where Lee willingly submits to Edward’s control and discipline. The film portrays the S&M dynamics as a form of liberation and self-discovery for Lee, allowing her to embrace her desires and find a sense of empowerment and solace through submission.
What sets “Secretary” apart is that the film tiptoes between hilarity and hotness and focuses intently on the characters, making them more mysterious and eccentric than figures of fun. The original and unique narrative presents the transgressive D/s relationship in a way that doesn’t sensationalize or stigmatize the practices. Instead, it focuses on the emotional and psychological aspects of the characters, highlighting the complexities of human relationships and desires beyond societal norms. Challenging the conventional notions of love and intimacy, the film elegantly navigates with sensitivity, exploration, and at times, dark humor. So, if you’re in the mood for a laugh-out-loud office escapade with a touch of the unexpected, “Secretary” is the right choice for you. It will have you laughing, blushing, and appreciating the finer points of office supplies in ways you never thought possible!
Now if you wanna see a gender reversal of “Secretary,” try your luck with the South Korean rom-com “Love and Leashes” (2022) which depicts two co-workers entering a contractual relationship as partners in a consensual BDSM relationship.
2. Belle De Jour (1967)
What good is your tenderness to me?
One of the world’s most enigmatic auteurs, Luis Buñuel is a provocateur who indulged in challenging social and religious norms and bourgeois conventions. In his surrealistic, erotic daydream “Belle de Jour,” we acquaint ourselves with a sexually repressed and deeply unsatisfied bourgeois Paris housewife who has a deep-rooted fetishistic desire to indulge in sadomasochism. Featuring the effortlessly glamorous Catherine Deneuve, the film contemplates the double life of Séverine as a high-society housewife and a clandestine courtesan. Bored with her mundane life and having lost interest in having sexual intimacy with her husband, she decides to spice things up a bit by indulging in some seriously unconventional extracurricular activities – to be a sex worker in a high-class brothel – while her husband is away. As Séverine navigates her secret double life, the film leads you through a tantalizing labyrinth of fantasies and desires that are as mysterious as they are captivating.
In this examination of desire and fetishistic pleasure, we see Severine escaping into elaborate fantasies involving domination, sadomasochism, and bondage. Buñuel masterfully blurs the lines between reality and dreams, blending the surreal with the everyday, making Séverine’s escapades as unpredictable as they are alluring. These byzantine psychosexual fantasies offer a playful commentary on societal norms, sexuality, and the hidden desires we often keep tucked away behind closed doors. What makes this film incredibly sensuous is that it never crosses the boundary of becoming sleazy or sexually explicit. There is hardly any on-screen nudity and most of the sexual fetishes that are shown are projected through the viewer’s imagination. Yet this mesmerizing journey through the psyche of Severine leaves a playful smirk on your face as you ponder the secrets lurking beneath the façade of ordinary life.
If you haven’t got enough of Deneuve in this one, go for Marco Ferreri’s “Liza” (1972). In this bizarre and absurdist film, Deneuve’s Liza finds herself in an S&M relationship where she turns into a dog wearing collars and leashes.
1. The Piano Teacher (2001)
What is this foolish feeling that drives me into the wilderness?
Michael Haneke’s brilliant and riveting psychosexual drama “The Piano Teacher” is a complex and nuanced character study that plays like a musical duet between passion and repression, with notes of obsession and a crescendo of discomfort. Based on the 1983 novel of the same name by Elfriede Jelinek, this French-Austrian thriller focuses on the life of middle-aged Erika Kohut (Isabelle Huppert), a highly skilled piano teacher at a Vienna conservatory who harbors dark desires that manifest in voyeuristic and masochistic behaviors. She lives with her overbearing and manipulative mother (Annie Girardot) in a stiflingly dysfunctional family dynamic that shapes Erika’s repressed personality. Erika’s life takes a tumultuous turn when she becomes infatuated with one of her students, Walter Klemmer (Benoît Magimel), a handsome and confident young man, and becomes entangled in a toxic relationship where boundaries blur and emotional and physical pain become intertwined.
Addressing the provocative theme of self-harm as a source of sexual stimulation, it is undeniably a powerful examination of human frailty and the lengths people will go to fulfill their needs, even if it means crossing moral boundaries. Isabelle Huppert’s Erika is a masterpiece herself—part strict teacher, part psychological puzzle. Her performance is central to the film’s success, capturing Erika’s contradictions with nuance and intensity. “The Piano Teacher” is outstanding in its harrowing portrayal of a woman trapped in her own psychological prison, unable to break free from the patterns of abuse and self-destructive behavior that define her existence. Let me break it to you, it is not an easy film to watch as it challenges your perception with its raw, provocative, and at times disturbing aspects of desire and psychological torment.
Cinematic representations of the practice of BDSM often miss the mark, perpetuating misconceptions and glamorizing toxic relationships. Many films reinforce unhealthy stereotypes, failing to capture the true essence of BDSM as a very particular type of sexual need and fulfillment, that includes essential elements such as aftercare (emotional care post-scene), clear consent, safewords, and necessary maturity of participants. Halina Reijn’s upcoming erotic thriller “Babygirl,” featuring Nicole Kidman and Harris Dickinson, is going to be the newest addition to the films representing the D/s dynamic. Kidman takes on her most risque role yet as a high-powered CEO engaged in a steamy psychosexual high-stakes affair with her intern. With Nicole Kidman’s recent Best Actress win at the Venice Film Festival, there are high hopes for this film to be released in December.
