CANNES – The sex is hot at Cannes this year.

While the world’s most prestigious film festival has never been known for its inhibitions — three years ago, Vincent Gallo’s full-frontal performance in “The Brown Bunny” was all the buzz — this year, the cumulative impact of so many unblushing depictions of sex can’t be ignored.

Several indie companies ranging from ThinkFilm to Samuel Goldwyn Films are engaged in a bidding contest for John Cameron Mitchell’s “Shortbus,” a bohemian comedy-drama that doesn’t shy away from unsimulated sex. IFC Entertainment has acquired all North American rights to the art-porn shorts compilation ”Destricted.” And a host of other movies have filled the Croisette with hardcore images.

“We haven’t seen this much sex onscreen at Cannes in about thirty years,” said veteran moderator Henri Behar at the ”Shortbus” press conference.

One of the most surprising developments to emerge as distributors circled the film is that even some studio specialty divisions such as Sony Pictures Classics and the new Paramount Vantage felt free to give serious consideration to a film with authentic, graphic sex. In the end, though, they abstained from serious bidding — either because of the marketing challenges that come with an NC-17 film or because of a simple lack of interest.

Although the $2 million “Shortbus” created the most discussion, it hasn’t been the only project to plunge into graphic territory. Another film getting genuine interest from buyers, Andrea Arnold’s “Red Road,” climaxes with cunnilingus. And Jean-Claude Brisseau’s Directors’ Fortnight feature ”Exterminating Angels” sports lesbian action scenes.

And even when actual sex isn’t captured on screen, there is plenty of nudity. The opening scene from Gyorgy Palfi’s avant-garde “Taxidermia” depicts a flame shooting from an erect penis. “Ten Canoes,” a study of Australia’s indigenous people, could be likened to a National Geographic special, except that it is filled with as much male as female nudity — and includes the line, “Never trust a man with an uncovered prick.”

International buyers are certainly biting. “Unlike some other films I’ve repped, I had no trouble getting distributors to see this film,” said “Destricted” executive producer Andrew Herwitz of the Film Sales Co.

Cannes festgoers don’t even have to enter theaters to get a cheap thrill. One of the most prominent billboards along the Croisette is for Sean Ellis’ “Cashback,” the story of a nighttime supermarket clerk who has the ability to stop time and uses it, in part, to undress women and admire them. Although the title is presented in block 3-D letters on the billboard, it’s the breasts of a topless woman wheeling a shopping cart that grab the attention of passers-by.

One executive behind “Shortbus” observed that such in-your-face marketing would not be an appropriate way to sell Mitchell’s film, because the film is about much more than the few hardcore sex scenes it contains.

But other promoters are having no reservations about resorting to sexual come-ons. “1-900” may be a thoughtful English-language remake of the late Theo van Gogh’s film of the same name, the tale of a couple who meet on a phone sex line. But flyers used to promote the movie depict a naked woman pleasuring herself on a toilet, phone in hand. “I’m sure Denis Leary and Hope Davis (the movie’s stars) had no idea their film would be sold this way,” one exec observed wryly.

Some films have even begun to critique the proliferation of X-rated imagery and on-screen sex.

“Princess” uses explicit sex and pornographic imagery for a very non-erotic purpose. The animated film, which will be distributed domestically by Tartan USA, is an eloquent diatribe against what Danish director Anders Morgenthaler calls “the pornification” of society.

“Porn imagery has encroached into our society and culture to such a degree that I think we have to speak up against it,” said Morgenthaler. “This isn’t about sexual freedom, I’m completely in support of that. But the porn industry is only about money and has nothing to do with sexuality, love of body or real eroticism.”

Many industry executives agree, feeling that while sex sells, it comes down to quality. “These films are doing quite well in the market if they’re artistic in nature,” said Dylan Leiner, executive vp acquisitions and production at Sony Classics. “They won’t necessarily be box office champions, but if they’re well made by real filmmakers and the sex is included for artistic merit, they’ll find an audience.”