na bombuj.si. An old man remembers the troubled relationship he had with his mother, the erotic games, and the phantasms in which she managed to attract him. The main line gives but a small idea of the film, of its erotic style, its choreographic dimension, its strange fragmentation. The film drifts along an ever-renewed invention, intertwining lavish dances, mask games, musical comedy, parodies, permanent repression of the body offering itself as an object of desire to the viewer who is literally seduced.’
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