To find why we need to get on board with the fact that disabled people fuck like the rest of us, Dazed caught up with Centeno at the BFI. Below is the transcript of our conversation, which has been edited for flow and clarity.

Yes We Fuck is an uplifting, refreshing corrective to the narrative that disabled people are in some way sexless, made noble by the struggles they undergo to assimilate into a society that is in many ways ableist. The film isn’t perfect – sections are too long, and while Centeno wants to depict the reality of disabled people having sex, at times the camera lingers too long or in a way that feels intrusive. It’s clear that this is very much a passion project from the fledging director, and one which could perhaps have profited from tauter editing. Nonetheless, it’s rare to see a film which so profoundly makes you confront your own prejudices to recognize that we all of us share a common humanity and a common desire to express that humanity through the most natural act of all – the act of fucking, of course.

Watching the film, which recently showed at the British Film Institute’s Flare festival, at times makes for uncomfortable viewing. You’re discomfited by the fact that the sexuality depicted on our TVs and in popular culture almost uniformly represents one experience: that of heterosexual intimacy between two able-bodied, cis-gendered people.

Spanish director and disability activist Antonio Centeno wants to tackle this prudishness head-on. His film Yes We Fuck (which is co-directed with Raúl de la Morena) is a no-holds barred look at the world of disabled sexuality, with uncompromising visuals (of people having sex) and a strong sense of moral purpose. Centeno shows human intimacy in all its forms, and what strikes you from watching the film is that the issues faced by disabled people when it comes to their sex lives aren’t so dissimilar to those faced by the rest of the population.

As a society we’re becoming more accepting of sexuality in all its guises and forms – and rightly so. 2015 could be seen as the year when trans issues finally broke through into the mainstream after decades spent on the margins of society, while more and more women in particular are joining the sexually fluid revolution . And yet for all of our talk, there’s one conversation that we’re not having – about how disabled people have sex.

Can you give us a bit of background as to why you made Yes We Fuck? Is this an issue that’s particularly close to home for you?

Antonio Centeno: By background I’m an activist and I’ve always advocated for helping disabled people, or those with functional diversity as we prefer to call them, to lead independent lives wherever possible. For us, this is a political issue. If we want people with functional diversity to have real lives – not merely to survive – then we need to be visible sexual beings. We need to break this infantilised image of us as children, to show that people with functional diversity are sexual beings, people who desire and are desired. So by giving them a sexuality, we politicise the issue.

You depict real-life intimacy in the film in a lot of detail. How did you get the participants to trust you?

Antonio Centeno: Many of the people in the film I’d met as activists throughout the years, so they trusted in me and what I was doing. And they understood that the film wasn’t just entertainment, but a political tool to help the change the realities of our society. I mean, of course it was difficult, to expose yourself and put your body out there. But it was only possible because of the trust I enjoyed from them, and the fact they understood what political message we were trying to put out.

What’s the reaction been like?

Antonio Centeno: In my native Spain and internationally there’s been a huge amount of interest and it’s generally been very well received. Some people find it too direct, maybe there’s too much exposure, and some people thought there were some stories missing as well. But it’s been more difficult getting it out to a wider audience, outside of LGBT and specialist film festivals. And I think this reflects the way in which people with functional diversity live in our society. You know, we live away from the masses, from the general public. We live in ghettos. And by ghettos, I mean special residences, or with families that look after us. We go to special schools, because we have to. We work in special centres. So basically, we live in a parallel world, segregated from other people.

Would you like to see this segregation broken down so everyone is living side-by-side?

Antonio Centeno: Well, I’m not sure about ‘everyone’. I don’t like most people! [Laughs].

The title of the film is quite risque…

Antonio Centeno: In Spain, we have a motto which roughly translates as ‘Fuck as you live, and live as you fuck’. Which means that you can only have your own independent life if you have a sex life which is free, which is independent, which is rich. And you can only have a sex life that is free if you personally are free. If you have a free sex life, you can have a good life. You can fight for your freedom, for your independence. So the film is about how you can show, through sexuality, that people with functional diversity want to live like others, independently, not being cancelled out and made to delegate their decisions through family members or professionals.

What I found interesting about the film is that a lot of the sexual issues that people faced, like guilt or shame, are common to everyone, not just those with functional diversity.

Antonio Centeno: Well, our intention wasn’t just just to show weird people doing weird things. We wanted to deal with general issues, like desire, pleasure, our relationship with our bodies. But basically by focussing on this group of people with functional diversity, we produced this magnifying glass effect...I mean, the issues that they have aren’t so dissimilar from those the rest of the population have. But it’s just magnified in this group.

It’s historically very difficult to depict sex on film. Was this a concern for you? Wanting to show sexuality in a way that was honest without being gratuitous?

Antonio Centeno: Well, I want to start by saying that reality doesn’t exist, as such. We were constructing a reality. And that’s the powerful thing about porn, not that it represents reality but that it constructs reality. If we think about what people think about those with functional diversity, they think that we don’t have sex. So we wanted to put images in the heads of the viewers, so that those images were incompatible with the prejudices that they had.

Is there a danger that we risk sensationalising the issue?

Antonio Centeno: It’s a risk we take, definitely. But if the problem before was people with functional diversity being invisible, and now it’s us being sensationalised, that’s okay with me. For me, it’s important that we construct narratives which don’t just place people with functional diversity between two opposite poles. You know, we have the pariahs, the hopeless people, and then on the other end of the spectrum there’s the hero and it’s all very inspiring, but...I mean, no one actually believes that. It’s reductive. So there are lots of stories that have to be constructed in the middle about people with functional diversity. And that’s what I hope to do.