Film
Pussy Talk
A brisk, irreverent eight-minute short that gives voice—literally—to bodily autonomy and female desire. It's absurdist, bawdy, and deadpan in the way of the best sketch comedy: committed to its premise without winking. For anyone who appreciates humour that doesn't apologize for being about bodies, or for being funny about things we're supposed to be serious about.
Should you watch it?
Watch it if you like short, frank comedies that treat awkward bodily honesty as a laugh rather than a shock, and you're happy to be let in on a first date gone sideways.
Skip it if you want a story with room to breathe or a clear arc, since at eight minutes it is a sketch that rests on one premise and leaves.
What it asks of you: Eight minutes, brisk and tightly kept, with no slack; it wants a few minutes of attention and then it is over before the awkwardness wears thin.
Not sure? Find tonight's pick in a minute.
If you liked this
Fleabag2016
Sharp, self-aware comedy about desire and dating with a protagonist who talks directly to the audience. It balances crude humour with genuine emotional stakes and character growth.
But The fourth-wall breaks can feel mannered if you're not already won over. Some heavy emotional beats in later seasons might feel mismatched with the comedy.
Broad City2014
Two friends navigating New York with absolute commitment to absurdist comedy and bodily humour. Unapologetic, inventive, and genuinely hilarious about sex, friendship, and female desire.
But Early episodes are looser and occasionally uneven. The humour is extremely specific—if the sensibility doesn't land instantly, it may never.
I'm Thinking of Ending Things2020
Formally inventive and darkly funny, with a protagonist whose inner voice drives the narrative. It plays with how we hear and perceive women's thoughts, both comic and unsettling.
But It's deliberately frustrating and bleak. The form overwhelms plot; if you want conventional storytelling, this will exhaust you.
Not sure tonight? Get a pick in a minute, starting from Pussy Talk
The wildcard
Something you would not have found on your own.
Show Me Love1998
Both use directness about female sexuality and bodily autonomy as their engine. Both refuse euphemism or shame. Both trust the audience's maturity.
A Swedish film about two teenage girls and desire, told with tenderness and explicitness that scandalised its time. The title alone defied convention; the film itself is honest about female sexuality in a way few films were or are.
But It's slow and artful, not comedy. The sexual content is there to make a serious point, not entertain. Subtitled and set in a small town, so patience required.
More like this (7)
Girlhood2014
French coming-of-age portrait of female friendship and desire with real physicality and humour. It's tender and messy and doesn't sanitize how girls actually talk and think.
But Subtitled and deliberately paced. There's no plot engine—it's a series of moments that require patience to appreciate.
Trainwreck2015
Amy Schumer's film about a woman who won't commit, written by her, funny about sex and commitment in ways most comedies aren't. It's earnest under the raunch.
But Her comedy sensibility is divisive. The film sags in the middle and relies on celebrity cameos that date it.
The Neon Demon2016
A nightmarish, visually stunning take on female bodies, desire, and performance. It uses horror language to talk about how women are seen and consumed. Audacious and strange.
But It's glacially paced and deliberately hollow. There's no warmth here—if you want connection or character, you'll feel cold.
Crazy Ex-Girlfriend2015
A musical comedy series that interrogates female desire and self-deception with real complexity and humour. It's smart about how women are taught to think about their own wants.
But The early seasons lean harder on jokes; later seasons become genuinely heavy. It asks you to invest in a character who makes terrible decisions.
Kathy Griffin: My Life on the D-List2005
Pioneering comedy documentary where a woman talks unreservedly about her body, ambition, and desire. It's unvarnished in a way that influenced everything after it.
But It's dated now and hinges on celebrity cameos that mean less over time. The reality-TV format feels tired.
Showgirls1995
Both are committed to their absurdity without apology. Both treat female bodies and desire as the subject, not decoration. Both refuse to be respectable about it.
Paul Verhoeven's infamous film is often read as a satire of female performance and exploitation, played so deadpan and committed that critics missed the joke. It's trashy, vulgar, and possibly genius.
But It's notorious for being genuinely bad. The dialogue is atrocious; the plot barely exists. You may spend the whole film unsure if it's comedy or disaster.
Satisfaction2014
Both center on a woman's body speaking its own truth, literally. Both treat female desire as comic subject matter without shame or irony. Both are defiantly unconcerned with male comfort.
A French erotic comedy about a woman whose orgasm is audible and impossible to hide. It's playful about female pleasure in a register between sketch comedy and genuine eroticism, and rarely seen outside France.
But It's in French with limited distribution. The tone is tricky—if it feels exploitative rather than comic to you, that's a real reaction. It's quite explicit.
People
Cast
- Kat LozanoGina
- Kim TranKate