Bummer (1973)

The scene opens with four people on a couch—two guys with beards, one with a muscular build, and two women, one blonde with shoulder-length hair, the other a redhead with bangs. They’re all dressed, just chatting, but the vibe shifts when the group piles into a car. Inside the car, it’s tight—three men and the blonde in the backseat, hands creeping up thighs. Later, the blonde is alone in a dark room, standing with her hands on her chest like she’s tense or turned on—it’s hard to tell. Then she’s outside in a field with a fit guy, holding hands, walking through tall grass. The shot is dreamy, natural light, close on their faces. Back inside, she’s at a jukebox, flipping through songs in a dim music venue. No full sex scenes, but there’s a lot of heavy implication—lingering touches, close-ups on lips, the way the redhead stares at the bearded guy like she wants to crawl into his lap. The lighting in the car scene is especially good—low, shadowy, makes the tension feel real. Camera work stays medium, never goes full POV or extreme close-up, keeps it grounded.