The Little Death gives us a mildly fresh reprieve on the existential anxiety the Last Man faces. Here, miles above the surface of struggle on Earth, he has time to play with the variegations of sexual preferences; yes, normal sexual intercourse is no longer enough but itself must be enriched, to serve the purpose of indulging in the self. But perhaps this is too critical an indictment on what amounts to yet another exemplary demonstration of decadence, wherein, human attention is not concerned with bettering itself, but instead bettering its animal proclivities.

These individuals, in other words, on this stage now can be afforded the luxury of idleness and boredom with each other. Yes, this is a comedy, and joyfully it is a unique exposition into what the Australian finds to be funny; sort of a diluted rendition of British humor and in a good way; yet the point is these couples in the film, instead of ameliorating their spiritual conditions, in fortifying the romance and devotion of two human souls towards each other in making for a better human being, they turn their attention to finding the best way to orgasm.

An orgasm, really, is the climax of selfhood. It is the uninhibited ecstasy of being which, while graciously requires another human to fulfill, can instead turn such a partnership into servitude. This in itself is a very common phenomenon in the decadent west, of human lives eschewing romance for a temporary sexual high; of discarding those lives once consumed, like a sanitary wipe. This is in appalling contrast to human civilization’s sacred history of matrimony and in an ideal sense, deference to the one one is obligated to care for. Sexuality is but an ingredient in the main course, not the meal in itself.

It’s quaint then, perhaps out of cultural courtesy lest the audience become nauseous with themselves, that each of these couple’s exploration of their idleness never broaches new sexual partners. When a relationship is predicated solely upon physical pleasure, it will run its course once the mystery of another body has been discovered. This is commonly why it is more realistic to hear in society of another person introduced in a couple’s sex life than a sexual fetish for crying or for being aroused by watching someone sleep, the latter two centrally depicted in the film. These bizarre inane sexual fantasies shield the viewer away from their ugly predilections; of, because of living with no spirituality, living a life no higher than an animal.