Sapiosexual describes a person who finds intelligence sexually attractive or arousing. In the dark, sexually-driven, slightly suspenseful thriller Sapiosexual, the idea of this type of attraction is brought to an entirely different level with a bit of a twist and a surprise ending. The film is written and directed by star Deborah Twiss.
Liam (Nick Hardin) is a narcissistic, aging professor living in a proverbial ivory tower of prowess and deception. Hannah (Deborah Twiss) and Freddie (David Edwin) are involved in a triangle of intellectual and sexual attraction with him. However, their “uncoupling celebration” takes a turn for the bizarre and unusual when a mysterious woman, Nancy (L.D. Sumner), gets involved.
Although the events that bring the featured threesome together are meant to be for dissolution, an act of sinister revenge is in the making. Liam is tattered, rough around the edges, torn at the seams, and lacks any depth and authenticity. However, the connection between Hannah and Freddie propels Sapiosexual forward enough to see it through to the end, making it a worthwhile watch.
A thriller-esque tone within the soundtrack, mood, and lighting creates an overall feeling of suspense though not in a bloodthirsty manner. Instead, it hits a more intellectual and sexual deviancy vibe, which is appropriate for the story. Hannah and Freddie suffer life-long trauma caused by Liam. Yet, they are curious and thoughtful beings. She admits to having a wild and deviant side, while he’s more sensitive and caring. These two resilient characters make Liam face his arrogant atrocities, giving him no room to deny or flee.

“…make Liam face his arrogant atrocities, giving him no room to deny…”
Bear in mind Liam makes them uncomfortable, though he is disjointed, especially in a scene where he is ravaging meat for a stew. Although disturbing, it provides plenty of fodder for the character. And for a bit, one wonders why Hannah stays around when anyone else would leave. Liam’s manipulation and strange sexual desire don’t quite add up, but somehow, Sapiosexual keeps going as a story with a purpose.
With lines like, “the desire to have the human spirit fly to its potential,” there is an inflated sense of need for why all three are with each other, which is a bit messy, almost clumsy until secrets are revealed. A narcissist can devastate gullible and naive persons, which is where the film offers a few perspectives, and revenge can play out on every level.
The film is also broken into weather segments where a dark sky is approaching and then a bright sunny day to manage time passing, like in a Bronte novel where the weather tends to be the biggest drama of the story. Yet, Sapiosexual modernizes a classic tale of manipulation with drugs and an undercover photographer (Rob Klein Charlie). Although very suspect to believability, the photographer’s character adds to Hannah’s pursuit of justice, money, and her free sexual spirit. Meanwhile, Freddie, unfortunately… well, no spoilers.
Sapiosexual is twisted and bizarre, but the conniving intellectual existence of its characters makes for an exciting story. However, the film could use a few more profound thoughts and more extensive connections beyond sex, wine, and drug experimentation to offer a sense of larger purpose. Nevertheless, for a film with a great deal of talking, it certainly has excitement and its payoff, especially in the bedroom.