Unbeknownst to Florentine, her actions are actively monitored and facilitated by her maid, Dorothy (Lidija Zovkić). Dorothy is actually operating as Jake's accomplice.
Sotto, una serie di frasi, ciascuna una dichiarazione breve e stranamente pratica:
La luce della sera entrava obliqua dalla finestra del corridoio, disegnando sul pavimento una striscia d'ambra che sembrava fissarsi su un singolo punto. In quella casa, dove le pareti avevano dimenticato le voci della famiglia e conservavano solo i segni dei mobili trascinati via, ogni cosa aveva l'aria di aspettare un giudizio. Non c'era nessuno, eppure l'aria profumava ancora di tabacco — di quello che resta dopo gli addii.
The film can be found on several European cinematic archives and streaming indices: impudicizia 1991 work
However, the story of Impudicizia is far stranger and more fascinating than a simple B-movie synopsis. This is a deep dive into a film that was literally born in two worlds: on the set of a low-budget Italian production and in the shadow of the impending genocide in Yugoslavia. It is a story of a director's career pivot, a leading lady's struggle for fame, and a film whose physical locations became unwitting witnesses to a European tragedy. From its lofty literary origins to its contemporary resurrection as a "so bad it's good" masterpiece, the tale of Impudicizia is a multi-layered journey through art, exploitation, and the fragmented memory of cinema.
The screenplay, penned by the veteran writer Leandro Lucchetti, does not shy away from provocative territory. The narrative weaves together several key themes that were central to the erotic drama genre of the time:
For those who approach it as a serious erotic drama, Impudicizia is a tedious failure. But for those who appreciate the unique, often unintentional comedic value of cinematic train wrecks, or for those interested in the lost world of pre-war Sarajevo, Impudicizia is a unique, strange, and strangely compelling piece of cinema history. In quella casa, dove le pareti avevano dimenticato
By attributing the core story to Guy de Maupassant , Impudicizia attempts to anchor its eroticism in classical literary tragedy. De Maupassant’s work frequently targeted the hypocrisy of bourgeois marriages and hidden sexual dynamics. The film modernizes these themes through a voyeuristic lens. High Erotic Style
By 1991, the landscape of Italian genre cinema was shifting rapidly. The golden age of the commedia sexy all'italiana and the high-art erotica of directors like Tinto Brass were facing steep competition from home video markets and shifting late-night television regulations.
Marta chiuse la lettera e guardò lo zio: "Lei chiamava queste cose impudicizie. Diceva che la buona educazione uccideva la sorpresa." Francesco sentì le parole come se fossero state pronunciate dentro una stanza vuota e ora, finalmente, riempissero lo spazio. Quella lista era una mappa. Non era una confessione di tradimenti, ma un inventario di istanti rubati alla prevedibilità. This is a deep dive into a film
Despite its low budget and poor reviews, Impudicizia is a significant film for several reasons. For director Pasquale Fanetti, it stands as a key entry in a filmography that specialized in the erotic genre. He followed this film with others such as Lady Emanuelle (1991) and L'amante di Lady Chatterley (1991), sometimes using the pseudonym "Frank De Niro". The film is an emblematic example of the Italian erotic and exploitation cinema that flourished in the late 1980s and early 1990s, a genre that frequently sought to elevate its subject matter by claiming connections to classic literature.
This basic plot is lifted almost directly, albeit with significant libertà poetica , from a literary source: the French writer Guy de Maupassant's short story "Florentine". The desire to adapt a classic work of literature is perhaps the most surprising element of Impudicizia , immediately distinguishing it from a standard, plotless erotic film.
If you saw this at a festival or archive, it may be an by an independent director. No record exists in standard English/Italian film databases.
The film often focuses on the thematic exploration of desire, obsession, and the breaking of social conventions regarding sexuality. The title itself— Impudicizia (Immodesty/Impudicity)—suggests a focus on actions considered scandalous or shameless by traditional norms.
| Character | Actor/Actress | Notes | | :--- | :--- | :--- | | Florentine | Malù (Ileana Carisio) | The film's protagonist, an unsatisfied young wife | | Jake (Husband) | Izudin Bajrovic | The museum director and impotent husband | | Backhem (Adopted Son) | Slobodan Negic | The boy who develops an obsession with Florentine | | Dorothy | Lidija Zovkic | Her husband’s accomplice |