The high temperatures they can take the human being to the limit of his possibilities. The heat upsets us, makes us desperate and sometimes makes us lose perspective, leading us to make rash and impulsive decisions. Just as fever causes delusionsWhen the thermometer goes off, reality loses its contours and we enter the land of nightmarish hell, a place where the most primal impulses are unleashed either through sex or violence and where unfiltered truths are told. That is why many screenwriters and directors have used the summer season to show its suffocating character and so that sweat becomes another element that characterizes the protagonists.
‘Duel in the sun’ (1946, King Vidor)
There are endings that give meaning to everything we have seen during a movie and that reach a mythical and epic sense. This is what happens with the scene that culminatedto this western with a biblical background about the brotherly confrontation between Cain and Abel. The characters of Jennifer Jones and Gregory Peck under a relentless sun will end up shooting each other consumed by a sick passion and joining forever in the most ardent, rapturous and sweaty embrace in movie history.
‘A Streetcar Named Desire’ (1951, Elia Kazan)
In all adaptations of Tennesse Williams you sweat. Because they tend to be set in the Mississippi area and because their characters are consumed by desire, helplessness and rage. But this film contributed to embed in the collective imagination the image of resounding and animal masculinity thanks a tremendous Marlon Brando in a tank top (or naked torso) bathed in sweat. This iconography would also later be reproduced in homoerotic films such as Fassbinder’s ‘Querelle’.
Rear Window (1954, Alfred Hitchcock)
James Stewart unable to move, with one leg in a cast, staring at a neighboring courtyard. The red-hot thermometer, and a drop of sweat on the forehead to immortalize the figure of eThis voyeur glued to binoculars to satisfy his curiosity. It is summer in the city, the couples take the mattress out to the balcony to be able to endure the heat, the girls go in their underwear in their houses and little by little the tension and intrigue creep into the environment creating a feeling of sticky anguish. The act of looking was never more uncomfortable.
‘A pleno sol’ (1960, René Clément)
Italy, the late 50s, endless days, sunny and beach mornings, sleepless nights at bohemian parties, boat trips and an obsession, that of the dark Tom Ripley by billionaire playboy Dicky Greenleaf. A fantastic adaptation of the novel by Patricia Highsmith which gave Alain Delon one of his most iconic performances for his ability to display ambiguity and magnetism in a film about how repressed desire, class hatred and ambition lead to murder.
‘The Burning Colossus’ (1974, John Guillermin)
Sublimation of the catastrophe cinema of the 70s, this marvelous production by Irwin Allen – who opted for the Oscar for best film – is pure fire in several senses: the literal one that causes the terrifying fire that breaks out during the opening party of the most famous skyscraper. top of the world, with 138 dizzying plants; and the one that leaves the incandescent cast star constellation, with Steve McQueen (ejerciendo de bombero), Paul Newman, William Holden, Fred Astaire, Faye Dunaway, Richard Chamberlain o Jennifer Jones.
‘Fire in the body’ (1981, Lawrence Kasdan)
A neo-noir classic and also one of the films that have most graphically captured desire and sexual arousal through the physicality of bodies in a constant state of boiling. Kathleen Turner became the prototype femme fatale in this film in which both she and William Hurt they were almost literally bathed in sweat in the middle of an unbreathable atmosphere in which there was no ceiling fan capable of stifling their carnal outburst.
‘Ham, Ham’ (1992, Bigas Luna)
A Bigas Luna he always liked to push his characters to the limit and place them in sweltering Mediterranean atmospheres, with the noise of the cicadas in the background, the dry land and rustic eroticism. Sex and sweat go hand in hand in the universe of a filmmaker who turned his career around with this film in which he tried to investigate the culture and the most primitive Spanish character through food and livid. Javier Bardem and Penelope Cruz would be marked by their performances at the beginning of their careers.
‘Sunshine’ (2007, Danny Boyle)
In the near future, the sun is dying and, in just five years, life on Earth will be extinct. A space mission leaves for the star in order to detonate inside a gigantic atomic bomb that breathes new life into it. The succession of images of the sun, with their flares and flares, make perspiration inevitable, but nothing more scorching than to see Cillian Murphy (attention, ‘spoiler’) throwing himself into the embers of the star king as a heroic savior of humanity.
‘Mad Max: Fury Road’ (2015, George Miller)
Since George Miller debuted with his now legendary ‘Mad Max: Highway Wildlings’ (1979), he has been in charge of defining his style features, as frantic as it is extremely raw, halfway between science fiction and western. Each of his approaches to that universe of lawless roads has made us feel dirty and sticky. Seven months of filming in the Namibian desert to capture this tremendous post-apocalyptic adventure, in the style of a rock opera in which Charlize Theron was crowned as empress of asphalt.
‘Blinded by the sun’ (2015, Luca Guadagnino)
Luca Guadagnino’s cinema is pure hedonism, aesthetic and sensitive enjoyment and that is precisely what he applied to this free version of ‘The pool’, by Jacques Deray It gives it a new epicurean life in which the pop spirit beats (its original title refers to the work of David Hockey) and the exaltation of sensuality, the naked body and pleasure. Two alpha males competing for the favor of two free females in the heat, humidity and a wave of African wind that become catalysts of carnal desire.
Eddie is an Australian news reporter with over 9 years in the industry and has published on Forbes and tech crunch.