From the director of Sweet Movie and The Coca-Cola Kid, this English-language film is very reminiscent of the latter (which was made four years later). It's just a very odd, quirky comedy. It also contains bits of blistering, hilarious eroticism. It's hard to make eroticism humorous. The film's most memorable bit involves an exotic dancer dodging a remote-control tank armed with a dildo. The story involves a wife (Susan Anspach) who tries to catch up with her husband (Erland Josephson, RIP) as he boards a flight. Unfortunately, she packed garden shears, which gets her taken to a small, back room for searching. There she meets up with a Yugoslavian immigrant, with whom she attempts to catch a ride home. They get sidetracked, though, to a settlement of other Yugoslavian immigrants, where her adventure begins. Meanwhile, Josephson returns home, not knowing what happened to his wife. The film is very airy and enjoyable. It doesn't equal out to much at the end. I'd rank it a ways below The Coca-Cola Kid, but it's well worth checking out.

....Is the best way to describe this movie. It will keep your eyes glued but otherwise won't provoke much else. The storyline seems to me to be a rather weak way to tie together the sex scenes, which outside a porno are some of the raunchiest 80's Hollywood will have to offer (and both female and male frontal nudity).Outside of this, the storyline is typical and utterly predictable. Rich, bored Northern European housewife seeks excitement and sexual fulfillment somewhere primal and vibrant: in this case Yugoslavian immigrants (specifically shown to be Serbian and Montenegrin).Of course this message is debasing to both cultures involved. Since I'm Serbian/Montenegrin I found the caricatures of my culture insulting, but more often than that: incorrect. But I didn't let this influence my score. It's very watchable and at the same time very forgettable.

I really don't like doing the whole, "Not many people will understand this," vein, but this movie really isn't for everybody. I personally got so much from it from my first viewing, and yet I got the strange feeling that no one else in the theatre I was in really quite "got it", so to speak. A lot of them laughed heartily, but they seemed to laugh at the apparent "randomness" of it, but none of it was random at all. This is a very precise and firmly crafted piece of postmodern art.First of all, the climax is somewhat in the beginning when she says "I hate being in this movie!" and the very beginning is really the last shot. A lot of situations that incited laughter only did so after the punchline had already been given moments beforehand. A lot of this film is circuitous and self-reflexive, and everything breaks down so that any given meaning something may have eventually undermines itself later. The thing that's excellent about it is how precise and organized it is at breaking everything down into structureless structure. The acting is great but unnecessary because the characters just say what they're thinking/feeling/etc. The story is of a bourgeois woman who falls in love with a man from a lower class and lives happily ever after... only not really. Montenegro is a character only he's one of the most incidental and least important. The children are the caretakers. The adults are the adolescents. And so on...This film gets a lot of laughs from its irony, but mostly it's a very tense film to try to watch, and I would have MUCH preferred watching it in private so that I wouldn't feel the tension mounting in the auditorium as people literally strained to try to make sense of it. So by all means, believe my intentions are good when I say this film is not for everybody.--PolarisDiB

This film was darn good in spite of the fact that almost all of the characters behave in utterly incomprehensible ways. Marilyn Jordan (Susan Anspach) was at least characterized as a bit of a loon from the beginning. Some really fine acting here, Anspach most notably, but also just about all of the Yugoslavian actors, none of whom had I ever heard of before. Of particular note was the young woman, I think it was Patricia Gelin. I'll have to check and see if she has made other English-language films.