A woman on the run from the mob is reluctantly accepted in a small Colorado town. In exchange, she agrees to work for them. As a search visits town, she finds out that their support has a price. Yet her dangerous secret is never far away...
Adele's life is changed when she meets Emma, a young woman with blue hair, who will allow her to discover desire, to assert herself as a woman and as an adult. In front of others, Adele grows, seeks herself, loses herself and ultimately finds herself through love and loss.
A man named Seligman finds a fainted wounded woman in an alley and he brings her home. She tells him that her name is Joe and that she is nymphomaniac. Joe tells her life and sexual experiences with hundreds of men since she was a young teenager while Seligman tells about his hobbies, such as fly fishing, reading about Fibonacci numbers or listening to organ music. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
A prosthetic penis was used for the blow job scene on the train. See more »
The train carriage where the two girls pick up strangers is German, but the ticket collector is wearing a British Railways uniform from the 1970s. See more »
Perhaps the only difference between me and other people was that I've always demanded more from the sunset; more spectacular colors when the sun hit the horizon. That's perhaps my only sin.
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Near the very end of the credits there is this disclaimer: "None of the professional actors had penetrative sexual intercourse and all such scenes where [sic] performed by body doubles." See more »
Very rarely I comment on IMDb, but I felt this was necessary. The film is an excuse for porn, if there was just half the amount of turning points, character development, surprise, tension, deeper meaning... as there is uncensored penis and pussy, this film may have saved itself from the hall of shame in post-modern storytelling.
Frankly, I don't like the attitude of putting someone down, I'd rather recognise my own shadow and deal with that internally... but it comes down to more than a matter of subjectivity when a film that lacks any type of spiritual or even psychological depth makes its way to the screen.
Aristotle turns in his grave.
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