I also love the way Sebastián chose to shoot it. It was storyboarded. All the wetness, the spitting in the mouth, the pubic hair, the vaginas, but also leaving some of it to the audience to imagine. Where is the other woman’s mouth, where are her fingers? It was important for him to focus on our faces to really capture that desire. There’s something very spiritual about their sex. I’m really proud of it." Tilly: They didn't want it to be a man's version. There's a male version of what lesbians are, and you see it in the soft-core porn movies all the time. They really wanted to get it right. They wanted to be very respectful of the lesbian community. They wanted it to be very, very authentic and raw, not pornographic. Although it was pornographic because we're hot. [ Laughs]

Tilly: I did have so many girls come up to me—and so many drag queens saying their drag name was Violet. It really made me feel, in a weird way, like I had a responsibility when all these girls would come up to me and say that they came out of the closet and realized they were gay after they saw this film. Tilly: [The rating board] said, "It looks like they're really doing it." And the [Wachowskis] go, "Let me get this straight. If the girls weren't such good actresses, you wouldn't have a problem?" They were embarrassed, and they said, "Yes."

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Gershon: As soon as I met Jen, I thought, "Oh my God, all I have to do is watch her." She was so amusing and so fun. It's just so easy to watch her, like her butt and her legs. It made my job easy to kind of objectify her. We liked each other as soon as we met.

Gershon: [The Wachowskis] knew every angle, every cut. They came from doing graphic novels so they really had it in their heads. Tilly: Everyone's positive that they're so in love, and they're going to live happily ever after, but I really think in Violet's nature, she's a predator. I do not think it's going to end well. Violet's in love with Corky, but she's very damaged and I just don't think it's going to be like one of those, "50 years ago, we met cute," you know? Tilly: This scene here it was all [advisor and feminist sex writer] Susie Bright's friends. That's why the bar scene is so authentic—it's all lesbians.Gershon: There was one take that all four of us were like, "That's the one." It was like a real love scene. You didn't see a boob. You didn't see anything; it was all suggested. It really played on our face more than anything.

Tilly: You've got to really adore your costar and have a good relationship and a trusting relationship because it's a really violent scene…[Gina] sprained her wrist or finger or something like that. But you got to go for broke. You can't be precious, you know? You're doing fight scenes. You kind of have to go for it. Deliciously dirty, 'first time' Lesbian erotica; a sexually detailed story of skilful seduction and sweet submission. Sarah, a shy young virgin-girl has always lived a protected life at home with her loving parents until the day came when they decided that it was time for her to attend college, meet other girls her same age, become a bit more worldly wise, and also get up to speed on her education. Tilly: We had to reshoot the last scene too because, when they were driving away, you could see palm trees reflected in the windshield.Gershon: I'm really proud of this movie, probably more than any other film I've done. These women are sexy and they're smart. They outsmart the bad guys. And they're funny and witty. They were into each other; they didn't need a man to help them. That was all a combination no one had really seen before. These parts weren't around a lot. Tilly: Gina had weights on the set, so before a scene she would work out [with] weights to make her muscles [bigger]. Gershon: I was coming right off of Showgirls, and I was so ultra femme in that. [I cut] all my nails and my hair off, and I started boxing. I had been dancing for five months, so I was so floaty and I wanted to be in my body more like a boxer…Marlon Brando, Monty Clift, Robert Mitchum. I went to all those guys. There's a certain quietness. I wanted to be like all the guys I project [my ideas of heroism and masculinity] on to. Tilly: Somebody said, "Oh, you know, females don't have any sex organs." [Susie] goes, "Yes we do; it's called a hand." So they did do a lot of shots of hands.

I still have to try to change the world in a little way that I know how’: Lashana Lynch wears dress by edelinelee.com; earrings by farisfaris.com. Photograph: Gustavo Papaleo/The Observer Mercifully, Lynch emerged from filming relatively unscathed, unlike Craig, who has lost teeth, broken his leg and had the tip of a finger sliced off doing Bond. “The stunt team were like, ‘Who are you? An alien?’” says Lynch. “Everyone who does stunts always has some kind of injury.” Ever since Director Sebastián Lelio's Disobedience premiered at TIFF in 2017, it's been the talk of the town among the five queer women who care about this kind of stuff. The film tells story of Orthodox Jewish lesbians in London: Esti (Rachel McAdams) caught in a loveless relationship with a Rabbi, and Ronit (Rachel Weisz) trapped in a series of meaningless heterosexual hookups.Tilly: Look at this, we're like equals. You know I'm full of s–t; I know that you know I'm full of s–t. We both know what you're here for.