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Erotic moments in Soviet cinema landmarks

A detailed portrayal of a sexual intercourse in Soviet underground cinema of the 1980s is no big deal. But sex and erotic moments in the so-called official cinema – box office leaders, produced by the main state studios, – is a rare pleasure.

Today we will overview the hottest bits of the USSR’s official cinema and see how far Soviet directors managed to go in avoiding the omnipresent censorship.

Man With a Movie Camera (1929)

A young woman with the characteristic sex appeal of the 1920s, feels quite comfortable putting on her stockings and bra in this triumph of Soviet montage by Dziga Vertov.

By the way, this film constantly appears in ‘n Films You Must See Before You Die’ kind of lists, comprised by cinema specialists from reputable periodicals.


Earth (1930)

After the murder of Vasyl, komsomol and fighter against local kulaks, his wife mourns in frenzy, running naked around her log hut. That way Earth became the first Soviet film that showed a fully naked woman.


By the way, in case you were ever interested in how bread is made, Earth meticulously shows the whole process in a greater detail, than it shows a female body.


Amphibian Man (1962)

When Anastasiya Vertinskaya’s character is about to become food for fishes, everyone can vividly see her nipples, sticking through her wet swimsuit.

By the way, at the moment of the shooting Vertinskaya was only 15 years old.


The Diamond Arm (1968)

Breath-taking striptease of the femme fatale-contrabandist in the emerald lingerie, contrasted by the poker-red wallpaper, is definitely is one of the hottest moments of the Soviet 1960s.


By the way, a KGB agent was constantly accompanying the film crew.


Unbelievable Adventures of Italians in Russia (1974)

When breasts of Soviet actresses still could not freely appear on screen, the breasts of Italian actress Antonia Santilli were already doing it with confidence, but through a matte shower curtain.


By the way, Unbelievable Adventures parodies a lot of contemporary foreign films, like It’s Mad, Mad, Mad World, Zabriskie Point and The Sicilian Clan.


Queen of the Gypsies (1975)

This love story of the two gypsies has a very sensual moment: after getting wet in a river, the main heroine slowly undresses herself in front her beloved, taking off her numerous skirts one by one.


By the way, in 1976 it was the most attended movie in the USSR, watched by 64.9 millions of people.


Air Crew (1979)

The film pleased the Soviet viewer with the scenes of foreplay between a young stewardess and a handsome pilot.

air crew

By the way, if the first part of Air Crew is a sloppy drama with tons of boring family quarrels, the second is a thrilling catastrophe film.


Moscow Does Not Believe in Tears (1980)

The main heroine of this beloved popular melodrama, played by Vera Alentova, is a shy village girl in her early 20s in the first half of the film, and a tough, self-sufficient woman in her 40s in the second half.


Apparently, the second type was provoking more erotic fantasies in the screenwriters and the director, that is why it’s mostly the second half of the film, when Vera Alentova exposes her breasts or appears on screen in sheer lingerie.

By the way, Moscow Does Not Believe in Tears is the second film in the history of Soviet cinema that won the Oscar for Best Foreign Language Film (the first one is War and Peace, 1967).


Little Vera (1988)

Little Vera broke the taboo on onscreen sex in Soviet cinema and became known as the first mainstream film that showed a sexual act.

By the way, the film also was first to openly address many social issues of the stagnation period.


Intergirl (1989)

After Little Vera everything was allowed. Main heroines of Intergirl are prostitutes, catering to international businessmen visiting the Soviet Union. Taken the theme, as well as the fact that the film was going to be made with Swedish money, Intergirl had to have nudity and sex in it. And it did, at the same time unconsciously marking the end of the Soviet official cinema.


By the way, the film also created the new kind of woman character in Soviet cinema – Intergirl’s main heroine Tanya is not a mother and a wife, she is an emancipated woman, who chooses not to be the way society sees her.


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    Anastasiya Vertinskaya was 18 during filming of Amphibian Man

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