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Bi women are even less visible in Hollywood films, particularly before the last couple of decades (a surprising exception being Lauren Bacall’s psychiatrist in 1949’s Young Man with a Horn).

The B in LGBT is not explored in cinema as much as the L, the G and, latterly, the T. Bisexual men and bisexual women are depicted very differently in cinema.

In the worst examples, films can be downright squeamish about their characters’ bisexuality – see (or don’t) Oliver Stone’s timid biopic of Alexander the Great (Colin Farrell played a more interesting bi character in 2005’s A Home at the End of the World).

A landmark film, this, as it was the first British film to show two men kissing.

It stars singer Murray Head as a bisexual artist who embarks on simultaneous relationships with a Jewish doctor (Peter Finch) and a divorcee (Glenda Jackson) – both are aware that they are “sharing” their lover, but tolerate the set-up for fear of losing him.

Audran won the best actress award at Berlin for her compelling performance.

It may seem reductive to call Terence Stamp’s enigmatic character in Pier Paolo Pasolini’s masterpiece bisexual, but given he seduces an entire family – father, mother, daughter, son – and their maid, it’s not wildly inaccurate either.After accidentally killing a man who was hassling his wife, Franz (played by Dieterle) is jailed for three years.Frustrated to the point of madness through being away from his wife, he gives in to temptation and sleeps with a fellow prisoner, who falls in love with him.The visitor has a sexual liaison with Why, before Frédérique makes her move and embarks on a relationship with him herself, to the chagrin of Why.A synopsis of the plot sounds like a tired chauvinist fantasy, but Chabrol isn’t much interested in his leading man.It’s the power play between the two women that excites, leading to a gripping psychological, and very enigmatic, thriller.