Adam Scott and Taylor Schilling in The Overnight (The Orchard)

A downright hysterical entry in brothers Jay and Mark Duplass’s production canon, The Overnight constructs a recoiling depiction of thirtysomething frustrations by mixing R-rated hijinks with mortifying ramifications. Directed by Duplass collaborator Patrick Brice (the soon to be released Creep) and starring often-underrated comedic actors, the film delivers a nonstop barrage of subversive behavior.

Parks and Recreation’s Adam Scott and Orange Is the New Black’s Taylor Schilling star as Alex and Emily, young parents who have recently moved from Seattle to Los Angeles. Hoping to make some new friends as they reestablish their lives in the new city, the couple accepts an invitation to a kids’ pizza party, hosted by Kurt (Jason Schwartzman) and Charlotte (Judith Godrèche), parents of their son’s new friend.

From the get-go, Brice inserts clever bon mots about the obsessions over local products and organic lifestyles often associated with young L.A. professionals. As the film progresses, it quickly becomes evident that the director is only just gearing up for the unceasingly crude humor yet to come.

Once the pizza boxes are recycled and the kids head off to bed, the night has only just begun for the adult foursome. Charlotte and Kurt casually discuss their forays into the art world, but their concepts of “acting” and “painting” stray far from Emily and Alex’s understated expectations. As more of this unconventional couple’s sexually ambiguous sensibilities are unveiled, the more Alex and Emily become enticed to throw caution to the wind. Endless wine, sensual photo shoots, and larger-than-life (in more ways than one) skinny dipping sequences are infused throughout a night that seems to last forever and yet somehow not long enough.

Each scene takes the foursome closer to absurdity without ever coming off as half-baked. Rather than toe the line of raunchy comedy, Brice crosses it all the way up to the pelvis. But though the humor may be startling, it rarely reads as blatantly offensive or insensitive. Both men and women are treated as equals in their sexual proclivities and boundaries, and the film does not resort to played out stereotypes of willing/reluctant gender roles. By challenging the positions that men and women play both in and outside of the bedroom, The Overnight surpasses standard sex comedies of recent years. It makes us think without ceasing to make us laugh.

As Emily, Schilling embraces the unorthodox behavior of her hosts without losing her footing as the relatable lens through which the viewers witness the night’s debauchery. Scott fully luxuriates in Alex’s shrinking modesty, particularly in one go-for-broke sequence alongside the always-game Schwartzman. Godrèche superbly rounds out the cast as a sensual, unbuttoned French expat, but maintains her uncontested authority throughout the night.

The Overnight may not suit everyone’s tastes for a good ol’ fashioned romp, but for those willing to leave their skepticism at the door, the film delivers an uninterrupted progression of cringe-til-you-laugh-til-you-cry hilarity.