2000·Comedy·1h 30m
7.0
★
While scouting out apartments in London for her Venetian boyfriend, Carla rents an apartment overlooking the Thames. There, she meets a real estate agent by the name of Moira.
Directed by Tinto Brass
adultery
italian
seduction
voyeur
erotic movie
exhibitionist
IMDB
N/A
Cast
Yuliya Mayarchuk
Carla
Jarno Berardi
Matteo
Francesca Nunzi
Moira
Vittorio Attene
Luca
Max Parodi
Marion
Tinto Brass
Man in Photo Shop
Osiride Pevarello
Voyeur
Crew
Tinto Brass
Director
Tinto Brass
Writer
Massimiliano Zanin
Screenplay
Tinto Brass
Screenplay
Silvia Rossi
Screenplay
Pino Donaggio
Original Music Composer
Tinto Brass
Editor
Massimo Ferrero
Executive Producer
Tinto Brass
Story
Popular Reviews
19 reviews
Mike
7.0★ · 06/27/26
U see these women-divine creatures and u'll be sure that God is a real artist
U see these women-divine creatures and u'll be sure that God is a real artist
Sebastián Allegre
6.0★ · 09/05/25
I'm a cinephile, I watch everything. No one can judge me
I'm a cinephile, I watch everything. No one can judge me
Matteo Carradore
4.0★ · 08/31/25
Oula... Je me suis perdu là
Oula... Je me suis perdu là
dparasol
6.0★ · 02/28/25
Believe it or not, Tinto Brass believed he was making a feminist film with this one. I have a few things to say about that, starting with the obvious: yeah, right, Tinto Brass.
But I think there's something to the claim, nonetheless. Some of the ways people talk about this film only make sense if we think of Carla as someone completely lacking in agency. Tinto's proposition is that Carla exercises the most agency out of anyone in the film, that the story is one in which Carla, coming into understanding her own sexuality, expresses her immense sensuality freely and as desired without being constrained by anything or anyone. I suppose it's evidently true that chauvinist attitudes restrain sexuality and sensuality to an immense level, and it is certainly true that this film is not in itself chauvinistic on that point. Carla's fiancé Matteo is essentially the villain of the film, a jealous, angry prude of a man rightly convinced that his amazingly horny partner is screwing around. Tinto's idea is that Carla's in the right throughout the film. Of course, even Matteo can change for the better, recognizing his own jealousy as the source of his own sexual energy. (incidentally, Carla wears panties when their relationship is healthy throughout the film.)
Anyways, this is a softcore porn, and as others will point out, it's essentially a Milo Manara comic brought to life. If you are a feminist, this movie is most likely going to offend you. Oh well, so sad for Tinto Brass. It is also an immense celebration of youth, sensuality, and even love. Most of all, though, it's a celebration of a woman's rear end, which Tinto Brass says is the mirror of the soul, which Tinto Brass believes tells the truth even when the face is lying. These last two beliefs are never really explained, but they're apparently very profound revelations for Tinto Brass. On, and it's a celebration of infidelity.
Look, you probably know if this is for you entirely based on the cover. I don't really believe in the film's message exactly, but I enjoyed watching it a lot.
There's an amazing sequence near the end of the film where Matteo is walking through a park not noticing all the people having sex with him, a parallel to the scene in the beginning where Carla walks through the same park. He comes upon a couple having sex, stops there and watches. He thinks he sees the woman as Carla for a second, then rubs his eyes and realizes he was wrong. An older man comes out from the bushes and asks him that makes him understand everything:
"Do you like my wife?"
alt. quote: "Well, I think she is a lesbian, and she wants to sleep with me."
But I think there's something to the claim, nonetheless. Some of the ways people talk about this film only make sense if we think of Carla as someone completely lacking in agency. Tinto's proposition is that Carla exercises the most agency out of anyone in the film, that the story is one in which Carla, coming into understanding her own sexuality, expresses her immense sensuality freely and as desired without being constrained by anything or anyone. I suppose it's evidently true that chauvinist attitudes restrain sexuality and sensuality to an immense level, and it is certainly true that this film is not in itself chauvinistic on that point. Carla's fiancé Matteo is essentially the villain of the film, a jealous, angry prude of a man rightly convinced that his amazingly horny partner is screwing around. Tinto's idea is that Carla's in the right throughout the film. Of course, even Matteo can change for the better, recognizing his own jealousy as the source of his own sexual energy. (incidentally, Carla wears panties when their relationship is healthy throughout the film.)
Anyways, this is a softcore porn, and as others will point out, it's essentially a Milo Manara comic brought to life. If you are a feminist, this movie is most likely going to offend you. Oh well, so sad for Tinto Brass. It is also an immense celebration of youth, sensuality, and even love. Most of all, though, it's a celebration of a woman's rear end, which Tinto Brass says is the mirror of the soul, which Tinto Brass believes tells the truth even when the face is lying. These last two beliefs are never really explained, but they're apparently very profound revelations for Tinto Brass. On, and it's a celebration of infidelity.
Look, you probably know if this is for you entirely based on the cover. I don't really believe in the film's message exactly, but I enjoyed watching it a lot.
There's an amazing sequence near the end of the film where Matteo is walking through a park not noticing all the people having sex with him, a parallel to the scene in the beginning where Carla walks through the same park. He comes upon a couple having sex, stops there and watches. He thinks he sees the woman as Carla for a second, then rubs his eyes and realizes he was wrong. An older man comes out from the bushes and asks him that makes him understand everything:
"Do you like my wife?"
alt. quote: "Well, I think she is a lesbian, and she wants to sleep with me."
Believe it or not, Tinto Brass believed he was making a feminist film with this one. I have a few things to say about that, starting with the obvious: yeah, right, Tinto Brass.
But I think there's something to the claim, nonetheless. Some of the ways people talk about this film only make sense if we think of Carla as someone completely lacking in agency. Tinto's proposition is that Carla exercises the most agency out of anyone in the film, that the story is one in which Carla, coming into understanding her own sexuality, expresses her immense sensuality freely and as desired without being constrained by anything or anyone. I suppose it's evidently true that chauvinist attitudes restrain sexuality and sensuality to an immense level, and it is certainly true that this film is not in itself chauvinistic on that point. Carla's fiancé Matteo is essentially the villain of the film, a jealous, angry prude of a man rightly convinced that his amazingly horny partner is screwing around. Tinto's idea is that Carla's in the right throughout the film. Of course, even Matteo can change for the better, recognizing his own jealousy as the source of his own sexual energy. (incidentally, Carla wears panties when their relationship is healthy throughout the film.)
Anyways, this is a softcore porn, and as others will point out, it's essentially a Milo Manara comic brought to life. If you are a feminist, this movie is most likely going to offend you. Oh well, so sad for Tinto Brass. It is also an immense celebration of youth, sensuality, and even love. Most of all, though, it's a celebration of a woman's rear end, which Tinto Brass says is the mirror of the soul, which Tinto Brass believes tells the truth even when the face is lying. These last two beliefs are never really explained, but they're apparently very profound revelations for Tinto Brass. On, and it's a celebration of infidelity.
Look, you probably know if this is for you entirely based on the cover. I don't really believe in the film's message exactly, but I enjoyed watching it a lot.
There's an amazing sequence near the end of the film where Matteo is walking through a park not noticing all the people having sex with him, a parallel to the scene in the beginning where Carla walks through the same park. He comes upon a couple having sex, stops there and watches. He thinks he sees the woman as Carla for a second, then rubs his eyes and realizes he was wrong. An older man comes out from the bushes and asks him that makes him understand everything:
"Do you like my wife?"
alt. quote: "Well, I think she is a lesbian, and she wants to sleep with me."
But I think there's something to the claim, nonetheless. Some of the ways people talk about this film only make sense if we think of Carla as someone completely lacking in agency. Tinto's proposition is that Carla exercises the most agency out of anyone in the film, that the story is one in which Carla, coming into understanding her own sexuality, expresses her immense sensuality freely and as desired without being constrained by anything or anyone. I suppose it's evidently true that chauvinist attitudes restrain sexuality and sensuality to an immense level, and it is certainly true that this film is not in itself chauvinistic on that point. Carla's fiancé Matteo is essentially the villain of the film, a jealous, angry prude of a man rightly convinced that his amazingly horny partner is screwing around. Tinto's idea is that Carla's in the right throughout the film. Of course, even Matteo can change for the better, recognizing his own jealousy as the source of his own sexual energy. (incidentally, Carla wears panties when their relationship is healthy throughout the film.)
Anyways, this is a softcore porn, and as others will point out, it's essentially a Milo Manara comic brought to life. If you are a feminist, this movie is most likely going to offend you. Oh well, so sad for Tinto Brass. It is also an immense celebration of youth, sensuality, and even love. Most of all, though, it's a celebration of a woman's rear end, which Tinto Brass says is the mirror of the soul, which Tinto Brass believes tells the truth even when the face is lying. These last two beliefs are never really explained, but they're apparently very profound revelations for Tinto Brass. On, and it's a celebration of infidelity.
Look, you probably know if this is for you entirely based on the cover. I don't really believe in the film's message exactly, but I enjoyed watching it a lot.
There's an amazing sequence near the end of the film where Matteo is walking through a park not noticing all the people having sex with him, a parallel to the scene in the beginning where Carla walks through the same park. He comes upon a couple having sex, stops there and watches. He thinks he sees the woman as Carla for a second, then rubs his eyes and realizes he was wrong. An older man comes out from the bushes and asks him that makes him understand everything:
"Do you like my wife?"
alt. quote: "Well, I think she is a lesbian, and she wants to sleep with me."
Brendan
Italians are freaks
Italians are freaks