It's part of Bruno Dumont's post-Freudian existentialist cinematic worldview. He's only concerned with sex being a primordial, animal act. Which, on his terms, is the only way one can objectively see it. Dumont doesn't necessarily view copulating as a psychologically or emotionally 'human' act (or at least how were 'supposed' to view sex in terms of human relationships). He's never been concerned with psychology, and his recent "Camille Claudel 1915" is the only one of his films where behavior and actions have emotional clarity.
In "29 Palms" the sound of their climax is more akin to two hyenas shrieking painfully rather than two lovers enjoying themselves. In another Dumont film "Flanders", the young lovers say nothing, lay-down clothed, and screw in such uncaring nonchalance that its no different than if they decided to quietly take a piss together.
"Go balls deep, Dad!"
-Scotty Crane
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