Montenegro

If it begins deceptively, as though setting out to be your typically angst-ridden Swedish art movie, by the time it's reached its set of climaxes - fireworks exploding, couple orgasming, narrative resolving - Makavejev's film could not have strayed further from the beaten track. Anspach is the frustrated housewife taking her pleasure where she can find it; and where she finds it, after airport body searches and missed flight connections, is, Makavejev suggests, in an increasingly unstable landscape which may be interior (psychological) or exterior (the tacky, exotic Club Zanzi-Bar, local hangout for a community of immigrant workers). Funny, bizarre and horny, Montenegro may not be as extreme in conception as the suppressed Sweet Movie, but it certainly lives up to its producer's brief to Makavejev: 'high quality comedy with a popular appeal and measured eroticism'. What more do you want from a film?