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Described by its writer-director as "a modest homage" to Fellini's 81/2, Greenaway's latest is a typically obtuse, bizarre and pretentious work, mercifully alleviated by a welcome seam of self-mocking humour.
Genevan banker Emmenthal (Standing) is persuaded by his son (Delamere) to assemble a personal harem. Having collected an assortment of misfits (including Collette's embezzler-turned-nun and Plummer's Lady Godiva-style equestrian), they soon find it's the ladies who are in control.
Greenaway's opus claims to explore sexual fantasies and the nature of film-making itself. Beyond the visual opulence, however, this is as cheesy as the lead character's name, while its view of women is simply degrading.
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