Eroticism in film has always been a problematic subject. While the depiction of sexuality on screen has become more accepted over the years, the question of “how much is too much” has lingered in the background as filmmakers have increasingly sought to push boundaries. At what point, however, does a movie cross the line between what’s legitimate cinema and what’s pornography? Is the difference defined by the degree of explicitness, the depiction of certain types of sexual acts, the nature of the individuals involved or some combination of all of these elements? Is there any redeeming social value involved when the camera records some of the foregoing potentially taboo elements (and what might those be)? Does eroticism innately enhance or detract from a picture’s narrative qualities, or is it merely an excuse for incorporating titillation? And, in the end, does this all boil down to a free speech question that renders all of these considerations fundamentally moot? Moreover, if that final concern ultimately proves irrelevant, does that mean porn should be looked upon as a bona fide genre in its own right, despite years of being seen as something that merely appeals to our baser instincts? Those are all legitimate questions, and this release from director Omar Flores Sarabia brings them squarely front and center. This offering follows the adventures of Horacio (Omar Lozano) and Franco (Dave Torres), a longtime couple from a small town in Mexico who make a weekend trip to Mexico City to celebrate Horacio’s 33rd birthday. They’ve been together for years, though they’ve steadily grown apart sexually, given that they each approach the matter differently. Franco is perpetually thirsty and favors an open relationship, while Horacio is oriented toward monogamy and would never think of stepping out on his partner. Their weekend in the big city brings this issue to a head as they each search for their own answers. But what will those answers be? While the film honestly and courageously examines many of the diverse erotic dynamics involved in gay male relationships, there’s little else to the narrative other than explicit depictions of sexuality. In many regards, it recalls a formula similar to the one used in the “Emmanuelle” series of films (1974-2024) in their exploration of cutting-edge heterosexual relationships (only *far* more graphic here), so sensitive viewers please take heed. Needless to say, viewers’ opinions on this offering are likely to diverge widely, depending on what they get out of it. Because “Very Deep Inside” (an undeniably cheeky title in itself) is unquestionably light on story, it will most likely appeal – strongly, to be sure – to those looking for a “well-orchestrated” gay male erotic romp. However, those seeking substantive LGBTQ+ cinema that just happens to include ample bedroom adventures will probably be disappointed, seeing it as porn with a few window-dressing narrative elements and questionable character development (such as why are these two men even together in the first place if their sexual outlooks are as diametrically opposed as they are?). While I certainly commend the filmmaker for audaciously pushing the envelope with what he’s created here, I can’t help but wonder whether this kind of sexually explicit cinema is ready for mainstream theatrical distribution or film festival programming. I’m certainly no prude, and maybe I’ll change my mind one day if the Academy adds an award category for movies like this. But, until these offerings gain more widespread mainstream acceptance (*i.e.*, society significantly lightens up about the subject of sex), I can’t say that most moviegoers – or even the most avid, open-minded cinephiles – are ready for that just yet, at least in public.