Sit down, children, because today's film for Foreign Film Friday is educational. This sexy, sultry, black-and-white French film is one of the first and most historic gay works of art in all of cinema. It's also very hot! Let's take a look at Un Chant D'Amour.

Foreign Film Friday: Historic French Gay Nudity in Un Chant D'Amour

Jean Genet directed this short film in 1950 about isolated prisoners who are desperate for human connection. A couple of the prisoners form relationships through the walls as one guard watches everyone through a peephole. One of the prisoners even tries to send his mysterious lover-inmate flowers, but the guard intercepts. Oh no! The drama! Leave it to the French to make this movie extra sexy, extra gay, and extra sad at the end. But not before showing us cock!

Foreign Film Friday: Historic French Gay Nudity in Un Chant D'Amour

A lot of old school Parisian dancers, artists, and performers star in this movie. Bravo plays an older prisoner who masturbates. We get to watch him rub his big old bulge. While he does that, other prisoners embrace in a fantasy sequence.

Foreign Film Friday: Historic French Gay Nudity in Un Chant D'Amour

Want something sexier? Coco Le Martiniquaisbrings his big dick out and dances with it! It can be hard to see it at first, but once you spot his dick that'll be all you see.

Foreign Film Friday: Historic French Gay Nudity in Un Chant D'Amour

Finally, Java and Andre Reybaz touch each other tenderly in a scene that will leave you speechless. This is 1950, after all! It's 1950 and these boys are straight up exploring each other's sexy bodies. How does everyone not know about this?! There is an answer to that. The 26-minute movie was banned for a long time because of its hot gay content. The movie was even debated in the supreme court in Landau v. Fording after distributor Sol Landau attempted to show the film in Berkeley in 1966. It was ruled too obscene and remained underground for decades, becoming an inspiration to some of the most important gay and avant-garde filmmakers to come in later decades. It's not hard to see why, but seeing why will make you hard. See what I mean here: