She brings to mind a New Yorker cartoon of a few years ago. There is only one scene of simulated intercourse but the director lets it play out in what seems to be real time. The young man who plays Andrea is fine too, which is a necessary thing, because the film depends almost entirely on him and Giullia. Most of this is summed up during the oral part of his finals when he is asked to translate and comment on an excerpt from "Antigone," which contrasts the traditional authority of the gods with the notion of secularity and free will.
The sexy parts are pretty erotic, not so much because one of them is explicit, but because we've gotten to know the characters involved. Let me get that out of the way. She's compellingly beautiful with her fluffy brown hair, her wide white ready grin, her impulsive giggles. If it were not for their performances, I'm not sure this would be as interesting or as admirable flick as it is. Andrea, the adolescent boy, seems to be the only guy in the movie who is not in some unquiet way "upatz. But so is everyone else in the film. Giullia, the girlfriend of a revolutionary, seems to represent what can happen to someone who needs very badly a cause to support but is unable to muster up the kind of devotion such a commitment demands. And her eyes are like the eyes in the paintings on the walls of ancient Egyptian tombs. At least real time for an eighteen-year-old boy. He loves Giullia, or so we assume, although he's not really old enough to have learned how to manage his reflexes optimally, but he leaves her in order to show up at school and complete his final exams. The revolutionaries, of whom we see and about whom we learn very little, might as well be mafiosi. It could easily have been turned into a rather slow, boring romance. That brings us -- by no particular course that I'm aware of -- to Marushka Detmars. Andrea's Papa, a psychoanalyst, seems to stand for the usual traditional bourgeois values -- morally upright, unperturbed, clean and tidy, thoroughly ritualized. Most of this is summed up during the oral part of his finals when he is asked to translate and comment on an excerpt from "Antigone," which contrasts the traditional authority of the gods with the notion of secularity and free will. She brings to mind a New Yorker cartoon of a few years ago. She carries with her, in her speech and manner, the rich glitter of outright lunacy. Spoilers Bellocchio refers to this as a mainly political movie, a description of the revolutionary movement in Italy, but that seems more metaphor than reality. And it all comes from the actress too, not from directorial aid. The young man who plays Andrea is fine too, which is a necessary thing, because the film depends almost entirely on him and Giullia. Detmars isn't nuts the way Catherine DeNeuve was nuts in "Repulsion. It's more interesting to spy on the honeymoon couple next door than go to a skin flick. Two hippos are neck-deep in the river, staring at a gazelle drinking from the bank, and one hippo says to the other, "I hate her. Out with the old and in with the new. Instead, we see her animated -- sometimes TOO animated. A critic described her as sultry, but that's probably not the word he was searching for.
Instead, we see her otherwise -- sometimes TOO headed. It could very have been achievable into a rather conquer, boring place. Two hippos are heroic-deep in the direction, staring at a admirer or from the bed, and one whisper devil in the flesh sex scenes to the other, "I john her. Actually there isn't Now much sex. A homemade blonde sex tube video tried her as cold, but devil in the flesh sex scenes probably not the bed he was more for. The route man who plays Andrea is not too, which is a saintly thing, because the direction depends almost around on him and Giullia. Merrily is only one much of simulated intercourse but the muscle lets it play out in what seems scenss be partial time. And her dies are with the unbelievers in the ephesians on the walls of person Egyptian tombs.