Pier Paolo Pasolini’s penultimate film (1974), and the concluding chapter in his trilogy on antique eroticism. Though the relentless objectification of the frolicking bodies looks forward to the cool Sadean ferocity of Salo, the style is light, casual, frivolous—it doesn’t have the intensity or obsessiveness of pornography, yet it doesn’t seem to have any other point. A typical puzzlement from Pasolini, a major figure who never made a major film. In Italian with subtitles.