![\"Tony](\"https:\/\/www.newsbeep.com\/ca\/wp-content\/uploads\/2026\/07\/lust-caution-2007-1.jpeg\"\/)
\n Tony Leung as Mr. Yee Wong looking at Tang Wei as Chia Chi in Lust, Caution.Image via\u00a0Focus Features<\/p>\n
The MPAA has long been a barrier for filmmakers because of the restrictions that it puts on content. While the sunsetting of the \u201cHays Code\u201d from the Golden Age of Hollywood seemingly offered filmmakers newfound freedom to include more objectionable material, the new ratings system made it challenging for anything particularly explicit to be marketed. Even though the \u201cX\u201d rating was replaced by the \u201cNC-17\u201d rating in 1990, there are still significant restrictions on what films can do if they earn that high of a rating.<\/p>\n
NC-17 films cannot be advertised in the same way and are rarely released in a major capacity, but that doesn\u2019t mean that they don\u2019t have artistic value. While there has not been a major NC-17 released since Andrew Dominik\u2019s biopic Blonde hit Netflix in 2022, there are several classics that received the rating and are worth heralding as pivotal moments in cinematic history.<\/p>\n
10 <\/p>\n
\u2018Lust, Caution\u2019 (2007)<\/p>\n
\n Tony Leung as Mr. Yee Wong looking at Tang Wei as Chia Chi in Lust, Caution.Image via\u00a0Focus Features<\/p>\n
Lust, Caution<\/a> is a subversive World War II thriller from Ang Lee, a filmmaker who has seemingly tackled every genre with enthusiasm and agility. While it is hardly the first film to explore espionage operations during the fight to take down the Axis Powers, Lust, Caution provoked controversy with its graphic sex scenes between Chinese spies and the Japanese officials that they were targeting. While Tony Leung was already a highly believed actor, Lust, Caution challenged his charismatic persona by casting him in an entirely different light.<\/p>\n Lust, Caution resulted in a tremendous amount of uproar, but Lee was such a respected filmmaker<\/a> that it still got a worthwhile release. To date, it is the highest-grossing film ever released with an NC-17 rating, even if its explicit content may have cost it the chance to meaningfully contend for the Academy Award for Best International Feature.<\/p>\n 9 <\/p>\n \u2018Shame\u2019 (2011)<\/p>\n Shame<\/a> is the second of three collaborations between director Steven McQueen and Michael Fassbender, who previously made the prison drama Shame before working on the Best Picture winner 12 Years a Slave. While sexual addiction is an issue that has been subjected to significant discourse and scandalization, McQueen takes an earnest look at mental illness that features one of Fassbender\u2019s most heartbreaking performances ever.<\/p>\n Shame is not a film that glamorizes sexual intimacy, as its sex scenes are quite harrowing. While the film\u2019s boldness made it polarizing, as McQueen has never been a filmmaker who has shied away from controversial issues<\/a>, it did stand out as a bold statement during a time in which moviegoers seemed to reject more explicit films. Fassbender is an actor who has always been fearless, and it’s hard to imagine any other leading man taking on his role.<\/p>\n 8 <\/p>\n \u2018Killer Joe\u2019 (2012)<\/p>\n Killer Joe<\/a> is the second time that William Friedkin directed an adaptation of a Tracy Letts stageplay, and its perhaps even more disturbing and darkly hilarious than Bug<\/a>. Killer Joe follows a penniless drug addict (Emile Hirsch) who hires a hitman (Matthew McConaughey) to kill his mother so that he can receive her fortune, only to discover that he also wants his sister (Juno Temple) as a \u201creward.\u201d<\/p>\n Killer Joe is a transgressive neo-Western that shows the lasting impacts on the financial crisis as it forces morally degraded characters to act even more inhumanely. The key to enjoying Killer Joe is accepting that nearly every character in the film is loathsome in one way or another, and that they eventually get what they deserve as a result of their arrogance. It also helped to kickstart the \u201cMcConaughiassance\u201d before he experienced his major comeback in 2013.<\/p>\n 7 <\/p>\n \u2018Bad Education\u2019 (2004)<\/p>\n Bad Education<\/a> isn\u2019t the first NC-17 rated film directed by the great Pedro Almodovar, but it was a much bigger hit than many of his previous works; the film benefitted from the remarkable star power of Gael Garcia Bernal<\/a>, and managed to become the highest-grossing NC-17 release of all-time until it was surpassed five years later by Lust, Caution.<\/p>\n Bad Education is a twisty erotic drama that has a lot to say about the nature of fluid sexual identity, the rampant abuses committed by the Catholic Church, and the way that cinematic media can serve as a coping device. Although Almodovar is an inherently provocative filmmaker who enjoys getting to push his audiences outside of their comfort zones, Bad Education dealt with material that was so grave that it wouldn\u2019t have been appropriate for it not to be given an NC-17 rating.<\/p>\n 6 <\/p>\n \u2018Bad Lieutenant\u2019 (1992)<\/p>\n Bad Lieutenant<\/a> is a highly disturbing crime thriller<\/a> from Abel Ferrara that centers on a self-destructive anti-hero cop, played by Harvey Keitel in one of his most brilliant performances ever. The shocking violence, colorful language, sexual content, and depiction of drug abuse made it impossible for the film to be rated R; despite the backlash that it received from film critics, political censors, and religious protestors, Bad Lieutenant earned a glowing review from Roger Ebert and was praised by Martin Scorsese as being one of the best films of the decade.<\/p>\n Bad Lieutenant does not allow its viewer to passively buy into the charisma of its protagonist without accepting his inherent nature, which distinguished it among other anti-hero films. In many ways, the film\u2019s nuanced depiction of rampant corruption within law enforcement made it ahead of its time in the \u201890s.<\/p>\n Collider Exclusive \u00b7 Oscar Best Picture Quiz Five Oscar Best Picture winners. Five completely different visions of what cinema can be \u2014 and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.<\/p>\n \ud83e\ude9cParasite<\/p>\n \ud83c\udf00Everything Everywhere<\/p>\n \u2622\ufe0fOppenheimer<\/p>\n \ud83d\udc26Birdman<\/p>\n \ud83e\ude99No Country for Old Men<\/p>\n \n FIND YOUR FILM \u2192\n <\/p>\n 01<\/p>\n What kind of film experience do you actually want? \n ASomething that pulls the rug out \u2014 that makes me think I’m watching one kind of film and then reveals I’m watching another entirely. NEXT QUESTION \u2192<\/p>\n 02<\/p>\n Which idea grabs you most in a film? \n AClass, inequality, and what people are willing to do when desperation meets opportunity. NEXT QUESTION \u2192<\/p>\n 03<\/p>\n How do you like your story told? \n AGenre-twisting \u2014 I want it to start in one lane and migrate into something completely different. NEXT QUESTION \u2192<\/p>\n 04<\/p>\n What makes a truly great antagonist? \n AA system \u2014 invisible, structural, and almost impossible to fight because it has no single face. NEXT QUESTION \u2192<\/p>\n 05<\/p>\n What do you want from a film’s ending? \n AShock and inevitability \u2014 a conclusion that recontextualises everything that came before it. NEXT QUESTION \u2192<\/p>\n 06<\/p>\n Which setting pulls you in most? \n AA gleaming modern city with a hidden underside \u2014 beauty masking rot, wealth masking desperation. NEXT QUESTION \u2192<\/p>\n 07<\/p>\n What cinematic craft impresses you most? \n AProduction design and mise-en-sc\u00e8ne \u2014 every frame composed to carry meaning beneath the surface. NEXT QUESTION \u2192<\/p>\n 08<\/p>\n What kind of main character do you root for? \n ASomeone smart and resourceful who makes increasingly dangerous decisions under pressure. NEXT QUESTION \u2192<\/p>\n 09<\/p>\n How do you feel about a film that takes its time? \n AI love a slow build when I know the payoff is going to be seismic \u2014 patience for a devastating reveal. NEXT QUESTION \u2192<\/p>\n 10<\/p>\n What do you want to feel walking out of the cinema? \n AUnsettled \u2014 like I’ve just seen something I can’t fully explain but can’t stop thinking about. REVEAL MY FILM \u2192<\/p>\n The Academy Has Decided Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.<\/p>\n Parasite<\/p>\n You are drawn to films that operate on multiple levels simultaneously \u2014 that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that \u2014 a film that rewards close attention and punishes assumptions, right up to its devastating final image.<\/p>\n Everything Everywhere All at Once<\/p>\n You want it all \u2014 and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point \u2014 because the feeling of being crushed by infinite possibility is exactly what it’s about.<\/p>\n Oppenheimer<\/p>\n You are drawn to cinema on a grand scale \u2014 films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important \u2014 to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.<\/p>\n Birdman<\/p>\n You are drawn to films that foreground their own construction \u2014 that make the how of the filmmaking part of the what it’s about. Alejandro Gonz\u00e1lez I\u00f1\u00e1rritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else \u2014 a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.<\/p>\n No Country for Old Men<\/p>\n You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil \u2014 implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.<\/p>\n \n \u21bb RETAKE THE QUIZ\n <\/p>\n 5 <\/p>\n \u2018The Evil Dead\u2019 (1981)<\/p>\n The Evil Dead<\/a> marked the beginning of one of the greatest horror franchises of all-time<\/a>, as Sam Raimi worked on a miniscule independent budget to make a handcrafted, terrifying new take on the \u201csplatter\u201d subgenre. Although it is often that films backed by studios can lobby the MPAA in order to give them a more attractive rating, Raimi did not have the power to do so in 1981, and had to accept the NC-17.<\/p>\n The Evil Dead became an object of cult fascination by horror buffs and succeeded in growing a large fanbase, ensuring that Evil Dead II could be a sizable hit. While there is a debate among fans of the franchise as to which installment is the best, the original The Evil Dead is certainly the scariest and most brutal, as it didn\u2019t have the same sense of campy goofiness that added humor to the later entries.<\/p>\n 4 <\/p>\n \u2018Last Tango in Paris\u2019 (1972)<\/p>\n Last Tango in Paris<\/a> is a bonafide classic that was considered highly controversial at the time of its release because it existed before the NC-17 rating was created, and thus had to be released with the \u201cX\u201d rating. Although the \u201cNew Hollywood\u201d era made it somewhat easier for films with graphic content to be seen as legitimate, Last Tango in Paris blurred the lines between acting and reality due to the onscreen intimacy between Marlon Brando and Maria Schneider.<\/p>\n Last Tango in Paris came amidst Brando\u2019s comeback, as it debuted at festivals in 1972<\/a> before a wide release in 1973, where he had just won his second Academy Award for Best Actor for The Godfather. Although he gave a few fun performances in the years after, Brando was so emotionally exhausted by the experience of making Last Tango in Paris that it is considered to be the last \u201cgreat\u201d role of his career.<\/p>\n 3 <\/p>\n \u2018Man Bites Dog\u2019 (1992)<\/p>\n Man Bites Dog is proof that not every mockumentary needs to be a spoof,<\/a> as the film offers a creative look at the fictionalized making of a documentary about a serial killer. It centers on the film crew who study and observe a ruthless murderer in action, and begin to sympathize and aid him as the crimes get more heinous.<\/p>\n Man Bites Dog came out at a time when celebrity obsessionism and the 24 hour news cycle were growing, making its message about the media desensitizing audiences to graphic violence even more relevant. Although the film is disturbing enough to earn an NC-17 rating based on its content alone, the fact that it was captured in such a grounded way made it even more horrifying; it didn\u2019t have the same suspension of disbelief within other crime films, as the acts of brutality actually felt grounded in a manner that abided by the sensibilities of a snuff film.<\/p>\n 2 <\/p>\n \u2018Y Tu Mam\u00e1 Tambi\u00e9n\u2019 (2001)<\/p>\n Y Tu Mama Tambien<\/a> is one of the greatest coming-of-age films ever made and was responsible for turning Alfonso Cuaron into a household name<\/a>; it is still rather shocking that Warner Bros. looked at this frank sexual dramedy and decided that Cuaron was the right filmmaker to take over the Harry Potter franchise after Chris Columbus decided to not return for the third installment.<\/p>\n Y Tu Mama Tambien is a perfect road film that featured incredible work by Gael Garcia Bernal and Diego Luna, whose onscreen friendship felt completely sincere. Cuaron\u2019s honesty about sexual experimentation and the innocence of youth made the film into a surprisingly hopeful story about empathy and evolution; although Cuaron made films on a grander scale later on in his career, Y Tu Mama Tambien might be his most ambitious endeavor based purely on the emotional range.<\/p>\n 1 <\/p>\n \u2018Midnight Cowboy\u2019 (1969)<\/p>\n Midnight Cowboy<\/a> is the only X-Rated film to ever win Best Picture<\/a> at the Academy Awards, even if its content might feel a little tame today in comparison to what is allowed currently under the R-Rating. Nonetheless, Midnight Cowboy was released at the height of the countercultural movement and offered a sincere perspective on the perils of poverty, and featured a starmaking performance by Jon Voight; Voight\u2019s dynamic with Dustin Hoffman is among the all-time greatest depictions of male friendship.<\/p>\n Midnight Cowboy is a downbeat film that includes many shocking moments, both viscerally and emotionally, but it’s also highly entertaining and filled with grounded emotion. It\u2019s the most important X-Rated film because it wasn\u2019t defined by its rating; regardless of what category Midnight Cowboy is slotted into, it should be seen as a masterpiece that holds up just as well today.<\/p>\n","protected":false},"excerpt":{"rendered":"The MPAA has long been a barrier for filmmakers because of the restrictions that it puts on content.…\n","protected":false},"author":2,"featured_media":811524,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[27],"tags":[49,48,75,337],"class_list":["post-811523","post","type-post","status-publish","format-standard","has-post-thumbnail","category-movies","tag-ca","tag-canada","tag-entertainment","tag-movies"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts\/811523","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/comments?post=811523"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts\/811523\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/media\/811524"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/media?parent=811523"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/categories?post=811523"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/tags?post=811523"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"Michael](\"https:\/\/www.newsbeep.com\/ca\/wp-content\/uploads\/2026\/07\/michael-fassbender-in-shame.jpg\"\/)
\n Image via Fox Searchlight Pictures<\/p>\n![\"Matthew](\"https:\/\/www.newsbeep.com\/ca\/wp-content\/uploads\/2026\/07\/matthew-mcconaughey-killer-joe-joe-cooper.jpeg\"\/)
\n Matthew McConaughey in Killer JoeImage via LD Entertainment<\/p>\n![\"Gael](\"https:\/\/www.newsbeep.com\/ca\/wp-content\/uploads\/2026\/07\/gael-garci-a-bernal-dressed-as-a-woman-and-smoking-in-bad-education.jpg\"\/)
\n Image via Warner Sogefilms<\/p>\n![\"The](\"https:\/\/www.newsbeep.com\/ca\/wp-content\/uploads\/2026\/07\/Bad-Lieutenant-1-1.jpg\"\/)
\n Image via Aries Films<\/p>\n
\n Which Oscar Best Picture
Is Your Perfect Movie?
\n Parasite \u00b7 Everything Everywhere \u00b7 Oppenheimer \u00b7 Birdman \u00b7 No Country<\/p>\n
\n The best movies don’t just entertain \u2014 they leave something behind.<\/p>\n
\n BSomething overwhelming \u2014 funny, sad, absurd, and genuinely moving, all at once.
\n CSomething grand and weighty \u2014 a film that makes me feel the full scale of what I’m watching.
\n DSomething formally daring \u2014 a film that pushes what cinema can even do.
\n ESomething lean and relentless \u2014 pure tension with no wasted frame.\n <\/p>\n
\n Great films are driven by a central obsession. What’s yours?<\/p>\n
\n BIdentity, family, and the chaos of trying to hold your life together when everything is falling apart.
\n CGenius, moral responsibility, and the catastrophic weight of a decision you can never take back.
\n DEgo, legacy, and the terror of becoming irrelevant while you’re still alive to watch it happen.
\n EEvil, chance, and whether moral order actually exists or if we just tell ourselves it does.\n <\/p>\n
\n Form is content. The way a story is shaped changes what it means.<\/p>\n
\n BMaximalist and genre-blending \u2014 comedy, action, drama, sci-fi, all in one ride.
\n CEpic and non-linear \u2014 cutting between timelines, building a mosaic of cause and consequence.
\n DA single unbroken flow \u2014 I want to feel like I’m living it in real time, no cuts to safety.
\n ESpare and precise \u2014 every scene doing exactly what it needs to do and nothing more.\n <\/p>\n
\n The opposition defines the protagonist. What kind of opposition fascinates you?<\/p>\n
\n BThe self \u2014 the ways we sabotage, abandon, and fail the people we love most.
\n CHistory \u2014 the unstoppable momentum of events that no single person can stop or redirect.
\n DThe industry \u2014 the machinery of culture that chews up talent and spits out irrelevance.
\n EPure, implacable evil \u2014 a force so certain of itself it becomes almost philosophical.\n <\/p>\n
\n The final note is the one that lingers. What do you want it to sound like?<\/p>\n
\n BEarned emotion \u2014 I want to cry, laugh, and feel genuinely hopeful, even if the world is a mess.
\n CDevastation and grandeur \u2014 an ending that makes me sit in silence for a few minutes after.
\n DAmbiguity \u2014 something that leaves enough open that I’m still thinking about it days later.
\n EBleakness \u2014 an honest refusal to pretend the world is tidier than it actually is.\n <\/p>\n
\n Where a film takes place shapes everything \u2014 mood, stakes, what’s even possible.<\/p>\n
\n BA collapsing suburban life that opens onto something infinite \u2014 the multiverse of a single ordinary person.
\n CThe corridors of power and science at a world-historical turning point \u2014 where decisions echo for decades.
\n DThe grimy, alive chaos of New York and Hollywood \u2014 fame as both destination and trap.
\n EVast, indifferent landscape \u2014 desert and highway where violence arrives without warning or reason.\n <\/p>\n
\n Every great film has a signature \u2014 a technical or artistic element that makes it unmistakable.<\/p>\n
\n BEditing and tonal control \u2014 the ability to move between registers without losing the audience.
\n CScore and sound design \u2014 music that becomes inseparable from the dread and awe of what you’re watching.
\n DCinematography as performance \u2014 the camera not recording events but participating in them.
\n ESilence and restraint \u2014 what’s left unsaid and unshown doing more work than any dialogue could.\n <\/p>\n
\n The protagonist is the lens. Who you choose to follow says something about you.<\/p>\n
\n BSomeone overwhelmed and ordinary who turns out to be capable of something extraordinary.
\n CA brilliant, tortured figure whose gifts and flaws are inseparable from each other.
\n DA self-destructive artist whose ego is both their superpower and their undoing.
\n EA quiet, principled person trying to make sense of a world that has stopped making sense.\n <\/p>\n
\n Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.<\/p>\n
\n BGive me relentless momentum \u2014 I want to feel breathless and emotionally spent by the end.
\n CEpic runtime doesn’t scare me \u2014 if the material demands three hours, give me three hours.
\n DI want it to feel propulsive even when nothing is technically happening \u2014 restless energy throughout.
\n EDeliberate and unhurried \u2014 I want dread to accumulate in the spaces between the action.\n <\/p>\n
\n The best films leave a mark. What kind of mark do you want?<\/p>\n
\n BMoved and energised \u2014 like the film reminded me what actually matters and gave me something to hold onto.
\n CHumbled \u2014 like I’ve been in the presence of something genuinely important and overwhelming.
\n DExhilarated \u2014 like I’ve just seen cinema doing something it’s never quite done before.
\n EHaunted \u2014 like a cold, quiet dread that stays with me for days.\n <\/p>\n
\n Your Perfect Film Is\u2026<\/p>\n![\"A](\"https:\/\/www.newsbeep.com\/ca\/wp-content\/uploads\/2026\/07\/the-evil-dead-1981.jpg\"\/)
\n A person holds a lamp in a dark cellar and looks wary in The Evil Dead.Image via\u00a0New Line Cinema<\/p>\n![\"the](\"https:\/\/www.newsbeep.com\/ca\/wp-content\/uploads\/2026\/07\/last-tango-in-paris_ndp4xg.jpg\"\/)
\n the two lovers look at one another in a hotel room, against the door in Last Tango in ParisImage via United Artists<\/p>\n![\"Ben](\"https:\/\/www.newsbeep.com\/ca\/wp-content\/uploads\/2026\/07\/ben-silences-viewers-man-bites-dog.jpg\"\/)
\n Ben (Beno\u00eet Poelvoorde) holds a finger to his lips to silence viewers in ‘Man Bites Dog’.Image via Roxie Releasing<\/p>\n![\"Gael](\"https:\/\/www.newsbeep.com\/ca\/wp-content\/uploads\/2026\/07\/y-tu-mama-tambien-driving-smile.jpg\"\/)
\n Gael Garc\u00eda Bernal as Julio and Diego Luna as Tenoch laughing while driving around in Y Tu Mam\u00e1 Tambi\u00e9nImage via 20th Century Studios<\/p>\n![\"Dustin](\"https:\/\/www.newsbeep.com\/ca\/wp-content\/uploads\/2026\/07\/midnight-cowboy-dustin-hoffman-jon-voight.jpg\"\/)
\n Dustin Hoffman and Jon Voight in Midnight Cowboy standing next to each otherImage via United Artists<\/p>\n