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Issue 97: Erotic Thrillers

July 2020

To the Lighthouse: Final Analysis

Veronica Fitzpatrick·
Issue 97: Erotic Thrillers
With erotic thrillers, the likelihood of astonishment runs parallel to the assurance of knowing precisely what you’ll get: intrigue, infidelity, conspiracy, obsession, doubles, misdirection, insatiable corruption and corrupting insatiability.
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Body of Evidence and Looking Camp Right in the Eye

Spencer Williams·
Issue 97: Erotic Thrillers
To view Body of Evidence through the lens of Camp is to acknowledge the film’s aesthetic merits despite its emotional ineptitude.
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Michael Douglas: Erotic Everyman

Steph Green·
Issue 97: Erotic Thrillers
Michael Douglas’ erotic thriller roles tangibly combined his loathsome attributes with a recognizable fallibility.
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Episode #3: Sliver (1993)

Bright Wall/Dark Room·
Issue 97: Erotic ThrillersPodcast
This month on the show, we sit down with Travis Woods—contributing editor & erotic thriller aficionado—to talk through a movie he considers one of the "icons of the genre," the 1993 Sharon Stone/William Baldwin film, Sliver.
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“I Said ‘Zoo’ and You Came”

Frank Falisi·
Issue 97: Erotic Thrillers
The most erotic scene I’ve ever witnessed in a television show takes place in the Reptile House of the Bronx Zoo.
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You Were Frameable: American Gigolo and Richard Gere’s Mirrored Sex Appeal 

Elizabeth Cantwell·
Issue 97: Erotic Thrillers
American Gigolo helped create and define Richard Gere as an actor with uniquely chameleon sex appeal. But how? 
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Erotics at a Distance

Joel Casey·
Issue 97: Erotic Thrillers
Piccadilly is an erotic thriller before such terms existed to define it, a film about an eroticism it’s unable to depict.
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Nothing Underneath

Austin Doherty·
Issue 97: Erotic Thrillers
Money. Power. Add in sex and the entire worldview of Jade can be summed up in a one-dimensional pyramid: Nothing less and, meaningfully, nothing more.
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The Reshaping of the Human Body by Modern Technology

Aren Bergstrom·
Issue 97: Erotic Thrillers
In Crash, sex on-screen becomes just another means of emotional dislocation and of situating the viewer in the emptiness of the present. 
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