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FindKeyは、100万件を超える映画・ドラマ作品、そして数百万人の人物データと独自の16類型CTI診断を統合した、日本初の感情特化型映画レコメンドエンジンです。

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HOW TO HAVE SEX
HOW TO HAVE SEX

HOW TO HAVE SEX

20231h 31m★ 6.2ドラマ

あらすじ

卒業旅行で異国の観光地を訪れた英国の10代の少女の切ない恋への憧れと不安を、彼女の心にそっと寄り添いながら、これが長編初監督となるM・M・ウォーカーが繊細に描写した青春ドラマ。第76回カンヌ国際映画祭「ある視点」部門グランプリをはじめ、世界中の映画祭で19受賞30ノミネートの快挙を達成した。 卒業旅行でパーティーが盛んなギリシャ、クレタ島のリゾート地を訪れた、タラ、スカイ、エムのイギリスの仲良し少女3人組。奥手な性格で、3人の中でただひとりバージンのタラ。スカイとエムはそんな彼女をからかい、余計なお節介を焼いて、タラの気持ちはますます焦るばかり。ホテルの隣室に泊まる、パディ、バジャーらの少年グループと知り合い、彼らと遊び歩く中、タラは、初体験への期待と不安を膨らませていくのだが……。

作品考察・見どころ

本作の圧倒的な魅力は、狂騒的なネオンと大音量の音楽に包まれた祝祭の裏側に潜む、静かな絶望と違和感を炙り出した演出力にあります。没入感溢れるカメラワークが、若者たちの集団心理の中で摩耗していく個人の尊厳を、息が詰まるほど鮮烈に描き出しています。 主演のミア・マッケンナ=ブルースが見せる繊細な表情は、まさに映画史に残る名演です。同意と沈黙の境界線という難解なテーマに真摯に向き合い、観る者の倫理観を激しく揺さぶります。性的自律性の真意を問い直す本作の衝撃は、鑑賞後も重い余韻として心に残り続けるはずです。

興行成績

興行収入: $1,216,642 (2億円)

※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。

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キャスト

ミア・マッケンナ=ブルース
ミア・マッケンナ=ブルース
Tara
ララ・ピーク
ララ・ピーク
Skye
エンヴァ・ルイス
エンヴァ・ルイス
Em
サミュエル・ボトムリー
サミュエル・ボトムリー
Paddy
ショーン・トーマス
ショーン・トーマス
Badger
Laura Ambler
Laura Ambler
Paige
Eilidh Loan
Eilidh Loan
Fi
Daisy Jelley
Daisy Jelley
Gemma
Elliot Warren
Elliot Warren
Male Club Rep
Anna Antoniades
Anna Antoniades
Airport Announcer / Female Club Rep

スタッフ・制作会社

監督: モリー・マニング・ウォーカー

脚本: モリー・マニング・ウォーカー

音楽: James Jacob

制作: Farhana Bhula / Ben Coren / Phil Hunt

撮影監督: Nicolas Canniccioni

制作会社: Film4 Productions / MK2 Films / Metrol Technology / uMedia / Wild Swim Films / Heretic / Head Gear Films

TMDB ユーザーのレビュー

Lachlan Thiele
Lachlan Thiele
★ 7

<b>INT. HOLIDAY HORRORS - NIGHT</b> <i>Tara, Em</i> and <i>Skye</i> have all come to the party, and party HARD. The story consists of these three friends on holiday that are down to fuck; <i>Tara</i>, in particular, will be her first time. This coming-of-age story is entirely a downer, but with some of the most exciting dance and party scenes with music that goes hard, it's impossible to look away. With <i>Em</i> and <i>Skye</i>, <i>Tara</i> has an Angel and Devil on her shoulders telling her what to do, think and feel. <i>Badger</i>, her love interest, starts as a rave-head looking to bang but grows into a compassionate friend amongst these horny young adults. Hats off to the performances of <i>Tara</i> <b>Mia McKenna-Bruce</b> and <i>Badger</i> <b>Shaun Thomas</b> and the wicked soundtrack. <b>FADE OUT.</b>

CinemaSerf
CinemaSerf
★ 6

I think any parent of a late-teenage child will be mortified at what goes on when three girls head off to Heraklion in search of sun, sea and sex. They arrive full of beans - determined too have a good time and to get laid. We quickly learn that "Tara" (Mia McKenna-Bruce) has yet to experience that, and she is keen to tick that particular event from her bucket list. Together with pals "Skye" (Lara Peake) and "Em" (Enva Lewis) they hook up with the folks whose balcony is next door. "Tara" takes a bit of a shine to tattooed, van driver, "Badger" (Shaun Thomas) who is there with his friends "Paddy" (Samuel Bottomley) and "Paige" (Laura Ambler). It's on their third night that the film stops being a video-diary of hedonistic behaviour as her friend "Badger" gets blown away by a poolside experience and she finds herself on her own, then on the beach with... What now ensues begin the elements that provides the crux of the point of the film. When is what we want not what we want, when does yes not really mean yes - or it means yes because you just want to get something over with, or yes because you are just curious, or yes because you are too stoked up to think anything through - and are in the arms of a charismatic person? This isn't a violent film in any graphic sense, but it does have quite an emotionally potent impact for a while as the very much on-form McKenna-Bruce juggles her outward, bouncy and lively persona, with a young woman who is still very much growing up - and vulnerable. I didn't love the last twenty minutes - they robbed the film of the much of the ambiguity that hitherto had made it poignant and a talking point. At this point the behaviour becomes just plain wrong and odious - before they all head home. This is a story about a girl, but it could just as easily be about a boy - under self and peer imposed pressures to perform/conform unaware of the longer-term consequences of sand getting everywhere. Snag for me is that the film is just too much of a fly-on-the-wall documentary for the most part. We have to wait too long before the story starts to make it's point effectively, and then I think it rather rushes and compromises the message. It's still worth a watch, though - and McKenna-Bruce is very confident and impressive.

Manuel São Bento
Manuel São Bento
★ 7

FULL SPOILER-FREE REVIEW @ https://fandomwire.com/how-to-have-sex-review-a-thought-provoking-debut/ "How to Have Sex lives up to high expectations, offering a thought-provoking exploration of consent, societal complicity with rape, and adolescent struggles. Mia McKenna-Bruce's breakthrough performance authentically captures the protagonist's profound transformation as Molly Manning Walker boldly leaves pivotal conversations unspoken, mirroring society's avoidance of uncomfortable truths. Technically impressive, the haunting sound mixing enhances the narrative complexity, seamlessly fitting the thematic atmosphere. An urgent call to viewers to reflect on their own behaviors or lack thereof." Rating: B+

MarciaClarke
MarciaClarke
★ 6

Classic American Pie setup of a bunch of youngsters on a mission to lose their virginity, except set in reality where the drug and alcohol fueled antics of people whose brains are still developing is more horrific than comedic. Well acted and believable characters, but I just didn't find it all that compelling. Maybe because the plot points are all too common, both in film and reality.

Brent Marchant
Brent Marchant
★ 4

It’s truly disappointing when a film tackles a serious subject but mishandles the execution of the story associated with it. Such is the case with writer-director Molly Manning Walker’s debut feature about the troubling ramifications associated with undercooked decisions about adolescent sex. When a trio of British teens (Mia McKenna-Bruce, Lara Peake, Enva Lewis) embarks on a spring break-style vacation to the resort town of Malia on the island of Crete, they anticipate a raucous, fun-filled time of drinking, dancing and sexual hedonism. The last of those goals is especially important to Tara (McKenna-Bruce), the lone virgin in the group, who’s anxious to cross the threshold of becoming a woman. But, as she pursues the fulfillment of that objective, she finds the decision fraught with more complications than she anticipated, some of which weigh heavily upon her as she seeks to sort them out. That’s understandable, too, given the profound nature of this rite of passage. Unfortunately, that conundrum is couched in a narrative that’s fundamentally implausible. For starters, what parent in their right mind would give their minor child permission to go on such an unchaperoned journey as this, one that’s easily bound to be looked on as an exercise in reckless abandon? And then there’s the plot, which is riddled with clichés and predictability, telling a story that’s more than a little familiar. In fleshing out this trite narrative, the picture is filled with endless footage of screaming, unbalanced partygoers imbibing to excess, singing karaoke off-key and falling over when the night’s over. It’s also difficult to understand much of what the characters say, given their unruly drunken behavior and thick cockney accents, making them look and sound like a mob of rowdy, inarticulate soccer hooligans. Despite the gravity of the topic involved here, it’s hard to take this release seriously – and to maintain interest in the story and its characters – as the film unfolds. It’s even more puzzling how this important but shopworn material managed to captivate so many during the 2023 awards season with the honors and nominations it received at the Cannes Film Festival and in the BAFTA Awards competition. Had this offering been a little less obvious, it may have made its point more effectively, but there’s little here that we haven’t already seen many times before, weakening the significant message it’s seeking to convey.

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