George Oliphant needs a tax write-off, so he decides to give a sculpture to
the museum and let his useless daughter Georgina supervise the project. A
sculptor is selected - with wry parody of the way such decisions are made -
and a man with a good body is found to be her model. His name is
Karl-Heinz, but he's not as Germanic as that sounds - no Schwarzeneger
here, just a very nice, normal man beset by sex-hungry women. And since
poor Karl-Heinz has a wife who is deeper into new age out-of-body
experiences than the here-and-now chemistry of sex, Karl-Heinz just does
what comes naturally. The plot veers into a comedy of manners, with
everybody wanting a piece of everybody else.
The wild card is that the government will not allow the deduction unless
the sculpture is larger - so Karl-Heinz must either grow, or another figure
must be added. It is decided to get his wife, the lovely but modest
Cecilia to model nude as well. Cecilia is persuaded under the influence of
drugs and maybe a trace of love for her husband - which allows for a steamy
sex scene. Actually Cecilia gets the best scenes - she also gets to take a
baseball bat to something she's mad at a point when she's very angry.
Polish emigre actress Gosia Dobrowolska is convincingly furious, performing
a scene of rather frightening violence - the kind of violence that comes
out of real life and not our of the movies' usual overheated exaggerated
Cox appears in a cameo performance of a man visiting a New Age shop,
fondling some kind of crystal and asking, "How do I know if this is my
There are very funny moments in this film, and for anybody who's ever had
to compromise an artistic dream, it will tickle your funny bone and rag
your conscience. It all takes place in Adelaide, Australia, but it could
easily be L.A. or Soho, London or Rome. Festivals all over the globe have
shown Cox's films, and this one will undoubtedly also be playing the
festival circuit, before it arrives at an art house near you.
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