盛夏，米兰的富家公子朱利亚诺Giuliano（毛里齐奥·因泰兰迪饰）与他的妹妹诺拉Nora（泰达·乌鲁索拉饰）、女友巴巴拉Barbara（莉莉·卡拉蒂饰）以及他的好朋友达尼埃莱Daniele（胡安·卡洛斯·纳亚饰）来到西西里岛附近一个岛屿的别墅进行家庭式度假。虽然诺拉希望达尼埃莱诺拉能与她一道提前结束假期，但没有性经验也很害羞的达尼埃莱让诺拉徒然地等待到了最后。诺拉离开后，三个年轻人在这里的海面上与一对航海旅行的北欧夫妇比约恩Bjorn（米基·武克饰）和特蕾拉Trella（伊洛娜·斯塔勒饰）相遇。这对天体主义夫妇的船出了故障，需要靠港维修。于是三个年轻人接待了他们，并决定抛弃身上的衣服加入到这对夫妇之中。最终，这个赤裸假期由于性竞争和嫉妒升级——花心的朱利亚诺寻着机会就向特蕾拉示好；达尼埃莱却在尝试对他好朋友的母亲阿德里亚娜Adriana（奥尔加·卡尔拉托斯饰）的引诱；而伤心于男友移情别恋的巴巴拉又企图自杀——而演变成一场混乱的局面……

而懒惰，放纵，最后是“休眠”，在一个象征性明确的家庭成员各级腐蚀，退休居住在农村。一个虚无主义的寓言讽刺，这是洛迦诺电影节荣获1978年和芝加哥。

Katina, an impoverished Greek woman, tries to arrange the marrage of her shepherd son, Thanos, to Despina, the daughter of a wealthy landowner. But when Despina’s father, Vlahopoulos refuses to give his blessings and wants Despina to marry a more wealthy gentleman, named Yankos. The wealthy and spoiled Yankos plots to break up the romantic union between Thanos and Despina any way posible while the young lovers plot to run away in a futile attempt to being a new life for themselves.

The niche market DVD label Mondo Macabro has released a little-known 1976 film titled In Hell, known variously as La tortura and Gloria Mundi. The movie is the creation of the late Greek director Nikos Papatakis, who obviously felt he had a significant left-wing political statement to make in this bizarre and unpleasant blending of radicalism and sexual humiliation. The film's one saving grace is an astonishingly brave performance by lead actress Olga Karlatos, who we are introduced to in a provocative, if cringe-inducing sequence in which we observe her sitting in a bathtub and attaching electrical wires to her nipples and genitals then torturing herself by turning on the current. Why is she doing this? It seems that her character, Galai, is an attractive young Algerian immigrant living in Paris. She has fallen under the spell of a mysterious and unseen political anarchist named Hamdias, who wants to wreak havoc against French colonialism in Algeria. This is to be achieved through terrorist acts that he is grooming Galai to carry out via instructions on the phone and cassette tapes. He also fancies himself an important filmmaker and is trying to raise funds for a political thriller starring Galai in the leading role. The film runs into the usual dilemma that real life independent producers must endure: the funding keeps running out but Galai becomes obsessed with ensuring that the movie is completed. Hamidias envisions incorporating perverse sexual abuse into the story line and he finds a willing leading lady in Galai, who enthusiastically submits herself to self-imposed "training sessions" in which she performs torture on her own body, all the better to please her producer/director/lover by giving the most genuine performance possible. The graphic opening sequence of this abuse is difficult to watch but the film quickly delves into a virtually incomprehensible look at the psychological tortures Galai is facing. Seems that Hamdias enjoys playing head games with her psyche and issuing increasingly dangerous demands including carrying out dry runs for terrorist bombings. She constantly vents to herself about her disdain for him, but it becomes clear that not only is she completely submissive to his whims, he is also holding their child as a virtual hostage to ensure she carries out his demands. That's about all I could ascertain from the confusing story line which at times is completely incomprehensible. There are films within films, sarcastic scenes that denounce the French elite and occasional sequences in which Galai is subjected to sexual abuse at the hands of military captor. There is abundant full female nudity but none of it is presented in an erotic manner and in one particularly awful scene one of Galai's would-be lovers vomits on her bare chest.
Papatakis might have thought he was making a poignant political statement but he comes across as a bargain basement imitation of Costas-Gavras. In fact, one suspects that all he really wanted to do was make a dirty movie but provided himself with a pseudo intellectual cover. (In one prolonged film-within-a-film sequence, a despicable French military officer engages a prostitute to engage in bizarre practices that include using a rather difficult and innovative method of opening champagne bottles.)
By Lee Pfeiffer -cinemaretro.com-