Urban Cinefile
"After I read his books I feel like I have a fist indentation in my solar plexus "  -director Darren Aronofsky about his adaptation of Requiem for a Dream from a Hubert Selby Jr novel
 The World of Film in Australia - on the Internet Updated Tuesday September 15, 2020 

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Seventeen year old Justine (Laura Fraser) is fed up. Being a virgin isn't what it's cracked up to be, and now she's ready to take the big step… but with whom? Alex (Kieran O'Brien), the school stud seems to be the obvious choice, and together with her best friend Fran (Marcelle Duprey), geeky friend Chas (Luke De Lacey), hatch a plot to get him to a computer show. But Alex changes his mind and goes out with man-eater Hoover (Natasha Bell). Justine is enticed into the make-over machine Narcissus, where she creates her dream guy. But a gas explosion crashes the system and dream guy Jake (Rupert Penry-Jones) becomes real.

"It's cool and full of zap. Vibrant, energetic, colourful and lots of fun, Virtual Sexuality takes an original slant on sexuality, changing sex and all that makes us say, vive la difference. Delivering far more than you initially expect, the style is bold and individual, with a definite personality throughout. It's full of bounce, pace, humour and heart; we delve beyond the superficial, and explore the very differences that make each sex unique. From the female perspective of whispered secrets to the raucous boys' locker room, we feel as though we are shifting from one foot to the other with the complexities and absurdities of sexuality, ego, competitiveness and friendship. Assured direction and stylish cinematography are complemented by a compelling, toe-tapping soundtrack. Top performances by a superb young cast; Laura Fraser, beguiling as Justine and Rupert Penry-Jones is striking as the blond Adonis with baby blue eyes. Luke De Lacey adds a poignant touch, grounding the flippant fun. As for the cosmetic make-over machine Narcissus, this is just the kind of gadget that will appeal to every girl. Click on the nose of your choice, cheekbones as defined as you would like and select the hair of your choice… guaranteed to shorten the wait outside the bathroom door. Entertaining and engaging, Virtual Sexuality visits those vulnerable teen years with wit and style. As for the guy of our dreams – well, don't despair, he may be closer than you think."
Louise Keller

"Girls all over the world are seeking to lose their virginity, it seems, and filmakers are on hand to record the attempt. Or it seems like it in March 2000, when two films exploring this very same subject open a week apart. In Australia, Strange Fits of Passion follows a young girl around Melbourne as she tries to find the right Mr Right for a night that will be her first time doing IT. In England, a young girl embarks on her search for the same thing and stumbles into a digital era solution - or so it seems - when she creates her dream man in a cyber booth. (In some scenes, English actress Laura Fraser even looks like her Australian character equivalent, Michaela Noonan.) But luckily, Virtual Sexuality is not as dumb nor as simplistic as my flippant synopsis here suggests. It's cute and funny and inventive, without wearing the joke too thin - but it also gives its target audience of 18 - 24 year old women a bit of gristle by way of a lesson in being yourself. Not original, but something to glue the fun to the ground. Fresh and engaging, Virtual Sexuality portrays London in an updated sort of Swinging Sixties fashion with the Spice Girls ambiance but lots more complexity - well, enough, anyway. Like many Australian films, Virtual Sexuality is a reasonably entertaining, well made film with no major stars to give it the turbo charge that it needs at the box office. But, like Nick Hurran's 1998 movie, Girls' Night, it gets you in with well honed performances that tingle with truth."
Andrew L. Urban

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CAST: Laura Fraser, Rupert Penry-Jones, Marcelle Duprey, Kieran O’Brien, Natasha Bell, Luke De Lacey,

DIRECTOR: Nick Hurran

PRODUCER: Christopher Figg

SCRIPT: Nick Fisher (from Chloe Rayban's novel)


EDITOR: John Richards

MUSIC: Rupert Gregson-Williams


RUNNING TIME: 92 minutes



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