Set in a fictional Latin American country during the tail-end of the Free Love era, unconventional Cyril (Charles Dance) and his wife Fiona (Sheryl Lee) cohabit in a blissful early seventies paradise of topless sunbathing, rustic scenery, and rampant carnality. Forever waiting to test the limits of their open marriage on unsuspecting visitors, Cyril and Fiona lick their lascivious lips when fresh prey arrives in the persons of shutterbug Hugh (Colin Lane) and his wife Catherine (Laila Robins), along with their three daughters. Turning a blind eye to Fiona's blatant pursuit of Hugh, pontificating Cyril beds Catherine despite her puritanical pooh-poohing. What hedonists Cyril and Fiona don't realize is that their partners may not handle freedom with the same equilibrium they're accustomed to. As Hugh finally succumbs to Fiona, the film keeps cutting back and forth between this action and its consequences. What will happen to Catherine after Hugh discovers Cyril is diddling his wife? Why does Hugh spend so much time in his darkroom with a photo of a nude servant girl? Surely, the brilliant iconoclast behind ANGELS AND INSECTS and THE MUSIC OF CHANCE is entitled to an arty misstep or two, including this one. Curiously unsensual, despite its frequent nudity and wanton couplings, it features a one-armed photographer, a wife driven to mutism, a chastity belt, and autoerotic asphyxiation. As this ode to wife swapping wends its way to catharsis, the audience will be fanning away philosophical pretensions like flies. On and on, the narrator Cyril drones about pleasure and its unseen perils, until you'll never want to have intercourse again.
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- Released: 1997
- Rating: R
- Review: Set in a fictional Latin American country during the tail-end of the Free Love era, unconventional Cyril (Charles Dance) and his wife Fiona (Sheryl Lee) cohabit in a blissful early seventies paradise of topless sunbathing, rustic scenery, and rampant carna… (more)