Sex, Lies, and Videotape

Cast

• 
  Steven Soderbergh Director
• 
  James Spader Graham
• 
  Andie MacDowell Ann
• 
  Peter Gallagher John
• 
  Laura San Giacomo Cynthia
• 
  Ron Vawter Therapist
• 
  Steven Brill Barfly
• A
  Alexandra Root Girl on Tape
• E
  Earl T. Taylor Landlord
• D
  David Foil John's Colleague
• 
  Steven Soderbergh Writer

Available Subtitles

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Viewer comments

• 4ms_Hensley 2026-06-12

  This by far the best film from Steven Soderbergh besides Traffic.

• Rama Rubat 2024-10-05

  Steven Soderbergh's Sex, Lies, And Videotape was all the rage at Cannes in 1989, winning the Golden Palm Award for Soderbergh and the Best Actor Award for James Spader. Soderbergh was also nominated for an Oscar for his screenplay. Despite the lurid, voyeuristic title, this film is not really about sex at all. It's about intimacy and what it takes to reach that with another person. Lies are always a barrier to that, but who would have thought that videotape would be so useful in revealing so much about people, although it actually shows little? James Spader, late of "The Practice" fame, is outstanding as the old college friend that returns to his friend's town, and stirs up the truth about each character. Peter Gallagher, currently in "The O.C.", is equally great as the lawyer, husband, who uses those in his orbit without regard to any consequences. Andie MacDowell is absolutely perfect as the conservative wife, who thinks that sex is overrated. Laura San Giacomo, from "Just Shoot Me", is also perfectly cast as the sexpot sister of MacDowell. All the actors, who weren't too well known at the time, give bull's eye performances. Rarely has any of them been as good since. Soderbergh's direction and screenplay are also responsible for the success of the film. Very little actually happens in the movie in terms of action, scene changes, and technical aspects of film in general. It's reminiscent of the many talky European films that are often very frank but where little happens. How

• Momozagn 2024-10-05

  Once in a great while a motion picture comes along that surprises me. sex, lies, and videotape is one of them. 10-years had passed between the release of this picture and the time I saw it. Then another 2-years before I decided to write about just how wonderful it is. My only regret is that I didn't get to view it on the big screen. My commentary on this film will be terse and the reason for this is I admired the film so much that I could go on-and-on about how really good it is. The first thing I noticed about the characters of Graham and Ann is that they are drawn to each other without realizing it. During their first scene together, I could tell there was some attraction between them. Ann is a sweet, innocent, very intelligent woman who is unfulfilled, yet doesn't realize her dilemma and is, therefore, in therapy. At first I thought my instinct was wrong in this incidence, but came to realize how right I had been when Ann arose to go upstairs just to look at Graham sleeping. Neither of them have a clue as to what is transpiring between them, but their future together seems set and often that can be the best kind. Andie MacDowell is absolutely wonderful as Ann. She owned that role. Graham is the character in search of closure to his past, which he regrets, probably due to his new-found moral code. His attraction to Ann isn't evident to him because most men seeking a higher moral plane don't think of other men's wives in that regard. Yet he openly discusses his imp

• Yeng Constantino 2024-10-05

  Spader's character was the reason I enjoyed the film so much. I could identify with him and his dilemma. It seemed he felt like a stranger in an even stranger land. Who were these humans that seem so happy in the same world he could not find happiness within? What is this life we live? More importantly, what is the point? Why bother? His great battle with existence was a philosophical one. He, like myself, felt infinite sadness over the knowledge that are no concrete answers... The movie is also interesting because it attacks the main sexual organ, the mind. Graham while trying to distance himself from the human experience by capturing sex confessionals on videotape, perhaps unwittingly became more intimate with his "partners." Roger Ebert points out that the films' argument is that conversation is better than sex. Personally, I think the movie is about trying to find happiness with another person. Some Modest Mouse song lyrics come to mind. "And it's hard to be a human being/ And it's harder as anything else/ and I'm lonesome when you're around/ I'm never lonesome when I'm by myself" Graham finds it hard to be a human being and live in this human world full of values that he finds strange, confusing, and most importantly unfulfilling. What do you do when your ideology and needs don't mesh in the society you live within? How does one deal with feelings of loneliness in a society that spurns him? This movie is about one man's way. James Spader does such an excellent job as th

• Mekita_ta_ta 2024-10-05

  Yes, "Sex, Lies and Videotape" is about sex, lies and videotape. And, while the sex is mostly served in dialogue-form and not a single shot of nudity is present, there is some graphic lying and some explicit videotape. Kinky, right? Well, not really. "Sex, Lies and Videotape" is Steven Sodenbergh's first film and it's not a bad one. It's just not entirely worthy of the praise it received, at Cannes for example. The situations in the film do create a fair amount of tension that moves the story along. But then, it'd be hard not to have some tension in a film about a woman whose husband is cheating on her with her sister, while she starts interacting with a stranger who is the husband's old college roommate and has a strange videotape * and may or may not be a pathological liar. (How do you believe someone who just confessed to having been a pathological liar to not being one anymore? The film doesn't really riddle that one for us.) Clearly, these characters clash together. But it's not as heated or interesting as it was in later Sodenbergh's films like the spectacular "Traffic." The dialogues in "Sex, Lies and Videotape" range from good to incredibly awkward. But the real strength of the film is the actors. While James Spader clearly stands out - I have never seen him deliver such a subtle performance where every scene simply works for him - Andie McDowell is phenomenal, Peter Gallagher playing the scummy, treacherous husband yuppie lawyer type is great and Laura San Giacomo as

• AMU GRG SHAH 2024-10-05

  Sex, Lies and Videotape will probably strike the average viewer as irredeemably degenerate, maybe even perverted, since voyeurism is still considered aberrant behavior. But as far as this film is concerned, that's the appearance, not the reality. Whereas the drama revolves to a certain extent around the voyeuristic * of an impotent man, the heart and soul of the film is an unrelenting, hard driving psychological siege on the biggest erogenous zone of all: the brain. This film is about sex. But it's not about the frothy swapping of fluids and feelings. It's about honesty, without which one can't have intimacy, which is to sexual stimulation what the water valve is to the hydrant. From beginning to end, we see this theme brought into focus by the dramatic contrast between two different relationships – the one based on lies and deceit, the other based upon honesty. And guess which one wins out in the long run? In a sense, it's what your mother and Sunday school teacher taught you all along. But what makes this movie way more interesting than your mother or Sunday school teacher is the level of honesty it suggests is necessary as the basis of a healthy relationship. Ann (Andy McDowell), for example, an acceptably moral person tells the voyeuristic masturbator `You got a problem.' He replies by adding that he has a lot of problems. But, he says, `They belong to me.' Somehow, the openness about one's problems renders their bile and poison ineffective. `Lilies that feste

• Puneet Motwani 2024-10-05

  "sex, lies and videotape" is a low-key drama that REALLY showcases Stephen Soderbergh's true talents. The film was made on a modest budget and is mainly dialogue-driven, yet I was deeply fascinated from start to finish. This is another film that sends out a message to all aspiring directors: You don't need a large budget to make a truly great motion picture! Soderbergh hasn't received worldwide fame until recently with the hit "Traffic." As much as I loved "Traffic" I urge everyone--who's curious of Soderbergh's work--go check out this initial effort. The element that impressed me the most was the succint, yet brutally realistic dialogue. I've never been more impressed with a film's dialogue and actually screamed out, "Now THAT'S how people talk!" The interactions between each character are so intense and down to earth, and gets the audience deeply engaged. James Spader shines in this career-making performance as a documentary filmmaker who gets his rocks off filming women talking about sex. We never know why he developed this unusual interest, but that's what's so great. And the way Spader carries his character is so subtle and powerful. His character is quiet and mysterious, and he expresses this enigmatic role perfectly with every silence, every facial gesture, every tone of voice. That's another element that I loved. Soderbergh expresses to his audience that people don't always mean what they say. And you can tell by every hint of body language. During these ch