Lesbian Film Guide: Steamy Love Scenes

by Chris Alderson

Welcome to the Lesbian Film Guide Review!

In this first article, I have focused on five wonderful films that not only contain smokin’ hot steamy love scenes but also, incredibly beautiful women in a variety of settings and circumstances.



Room in Rome

On their last night in Rome, Alba (Elena Anaya) and Natasha (Natasha Yarovenko) meet at a bar; talk of Russia and Spain and walk the cobblestone streets until they end up at Alba’s hotel. Natasha openly states that she has never come back to a woman’s hotel room before. Unsure at first, she eventually comes under the spell of Alba’s charms. From that point on, the women rarely don any clothes at all; an occasional robe or sheet is all that separates them for the remainder of the film.

The women initially hide their real identities weaving false tales of love, life and their past. As they become closer physically, making love over and over again, the stories gradually become closer to the truth and their inhibitions are stripped bare. Natasha is meeting her fiancé and is to be married within a week; Alba on the other hand has run away from a troubled relationship with her partner and the grief that has separated them. As the women navigate the terrain of truth and lies, they discover what hides beneath the surface and in doing so change their lives forever. Over breakfast on the terrace surrounded by the beauty of Rome, they talk of what they would do if they could be together.  After this intense night of passion, can Alba and Natasha really part?

Set almost entirely in a hotel room full of old world charm, the sensuously real love making scenes are depicted in lush hues as deep as the artwork that hangs on the walls. Writer-director Julio Medem (Sex & Lucia) has brought to the screen a stunning, if unconventional film.  There is so much to relish – the beautiful women, gorgeous views of Rome or the voyeuristic pleasure in watching these two women make love all night long. 


Elena Undone

Do you believe it is possible to find your soulmate? At an adoption information session out lesbian writer, Peyton (Tracy Dinwiddle) meets Pastor’s wife and photographer Elena (Necar Zadegan) and they exchange business cards. When Peyton asks Elena to collaborate on a project with her, their friendship begins. As they share information about their lives and experiences, the attraction begins to grow. During a photo shoot for Peyton’s new author image, the tension mounts to nearly the breaking point. Although Elena doesn’t believe that she is a lesbian, she does find herself irresistibly attracted to Peyton. When Elena shows up at Peyton’s front door, she has one thing on her mind and the viewer is treated to a gloriously long make out session, including the longest screen kiss (3.5 minutes) in cinema history.  After one taste of lesbian love, Elena is smitten and what started as a “crush” now advances quickly into a full-blown affair with exquisitely sensual love making scenes.  Their love however, becomes so intense that Elena is unable to contain it any longer and she must choose between her husband and the woman she has fallen in love with.

Writer/director Nicole Conn creates a wonderfully moving portrait of a woman caught in a loveless marriage who falls deeply in love with another woman. The film is well paced, capturing the early days of the women’s attraction and all the excitement, nervousness and longing that goes along with it. The chemistry between Peyton and Elena is superb; the sexual tension virtually crackles on the screen. 


Loving Anabelle

When Annabelle (Erin Kelly) is sent to St. Theresa’s all-girl boarding school by her Senator mother, it is her last chance before being packed off to military school. Rebellious teen Annabelle however, is not moved by the situation. She smokes on school property, drinks with her dorm mates and in general breaks the rules.

After Annabelle is introduced to beautiful poetry teacher Simone Bradley (Diane Gaidry), she is instantly smitten.  Initially Simone dismisses her advances, but Annabelle’s relentless pursuit leaves her unsettled. Simone has her own problems; a boyfriend she is avoiding commitment with is pressuring her to move in with him. Annabelle has stirred up long suppressed memories of the love Simone and high school sweetheart Amanda shared. Fighting valiantly against her growing attraction to Annabelle, Simone visits the chapel to pray for guidance. The situation comes to a head at a school dance when Annabelle sings a love song to Simone. In sudden dawning of the true depths of her attraction, Simone leaves the dance. When Annabelle follows, she isn’t able to contain her emotions any longer and kisses her passionately. Continued in Simone’s dorm room, the two women make passionate love to the rumble of the thunderstorm overhead. The next morning however, the women must rush to dress as Mother Immaculata’s footsteps echo in the hallway.

Out writer-director, Katherine Brooks presents an intensely romantic love scene as the rain pours down outside, the women’s inhibitions are cast off. The female lead performances are incredibly well done, the maturity that Erin Kelly brings to the role of Annabelle, makes the coupling hot and sexy rather than uncomfortable in this controversial subject.

Note*The DVD contains an alternate ending.


Kyss Mig (Kiss Me)

Mia (Ruth Vega Fernandez) announces her engagement to boyfriend Tim (Joakim Natterqvist) at her father’s 60th Birthday Party. Her father Lasse (Krister Henriksson) has just asked his partner Elizabeth (Lena Endre) to marry him.  When Mia meets Elizabeth’s fun-loving daughter Frida (Liv Mjones), she is initially wary. Reluctantly, she agrees to a weekend getaway on the island of Fyn with Frida and Elizabeth. Forced to share a bedroom with Frida, Mia finds herself fascinated by the other woman’s free-spirited enjoyment of life. While out walking in the woods, Mia boldly kisses Frida leading to an amorous embrace.  Frida is ready and willing to reciprocate and the women soon feverishly make love for the first time.

 The weekend over, Mia must return to Stockholm and her life with Tim and Frida to her partner Elin. Both women find it hard to put the intimacy they shared behind them. Escaping into the windswept Swedish countryside, the women shed their inhibitions once more and in the process fall deeply in love. Their lovemaking scenes show the playfulness and urgency of a new love affair. The intensity of their emotions however, soon overpowers both women and they question whether they really can return to their old lives.

Alexandra-Therese Keining’s beautifully directed lovemaking scenes sizzle on screen, some with no music at all, just the delightful sounds of two women ardently making love. The beautiful Swedish coast and countryside makes a perfect backdrop for this sensitive portrayal of undeniable attraction and love as it collides with life and family expectations.

Note* Swedish Language with English subtitles



Sue Trinder’s (Sally Hawkins) mother died on the gallows for murder, leaving her to grow up among thieves and petty criminals in London’s slums. When Mr. Richard ‘Gentleman’ Rivers (Rupert Evans), arrives with a proposal to make the group rich by defrauding a wealthy heiress out of her fortune, Sue agrees to help him. Setup with false references as a lady’s maid, Sue’s job is to convince Maud Lily (Elaine Cassidy) to marry Mr. Rivers.

As Sue settles into life as a ladies maid, she and Maud begin an easy friendship that makes both of them happier than they have ever been. When Mr. Rivers returns, Sue sets aside her feelings and reluctantly helps plan the marriage. Maud, innocent in the ways of love, asks Sue to show her what a wife must do on her wedding night. The two women then make love with a passion that neither had experienced before.  Again, after the wedding, Maud and Sue make love. Maud tells Sue the only way she can go through with the wedding night is if she pretends that she is with Sue. Come morning, Mr. Rivers’ well-laid plan is set in motion but, Sue is now in love with Maud and resists going through with the deception.

In this Victorian gothic thriller, truth and lies intermingle to such an extent that it is hard to differentiate between what is seen and what is reality. Director Aisling Walsh permeates the entire tale with steamy eroticism. The love scenes are tender and moving as the women awaken to the pleasure and pain of first love.

Adapted from Sarah Waters’ novel of the same name.


by: Chris Alderson
Author of the 2012 Lesbian Film Guide – Covering over 300 lesbian themed films from around the globe, the 2012 Lesbian Film Guide provides a comprehensive guide to lesbian movies from the 1950s to present day.

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