Tuula's husband Jukka takes care of all domestic chores. Tuula seems to have no idea that her husband spends his evenings working as a major league ice hockey referee. She also finds out about his extra-marital affair with a female rally driver. In revenge, Tuula starts seeing her gynecologist Timo Paasi, a married man with six children.

短片合集，多位瑞典导演合作，包括Jorn Donner、Vilgot Sjoman、Gustaf Molander、Lars Gorling这样的新浪潮主将，纪录与剧情短片都有，彩色+黑白，老将带新人模式，实际伯格曼那部爱情的感觉一般，不过其他几部很好。7/10，推荐喜欢新瑞典电影的人看。
“Stimulantia” is a series of shorts made by famous Swedish directors like Ingmar Bergman, Vilgot Sjoman (I’m curious - yellow), Gustaf Molander - who has Ingrid Bergman in this one - and a few others. And.. It also has a ferrari and a fan walking in Chaplin’s neighborhood and shouting questions when he sees him. There are no subs for this one, and it’s in Swedish. I don’t have a clue what its about. But hey, who does. nd who needs to when you mix nudity, Bergman, Chaplin, Ingrid and a Ferrari in the same movie.

The story involves a used car salesman (Jorn Donner) who wakes up from a night of heavy drinking to find that he has not only gotten married to the woman in bed with him (Dianne Kjaer), but has also already cheated on her with another woman in the next room (who then spends almost the entire movie wandering around his new bride's house naked). Meanwhile, another naked woman keeps calling the house for some reason and hanging up. And an insurance salesman shows up and tries to sell the newlywed couple a life insurance policy. All of this weirdness in the present day is intercut with the new husband and wife telling each other stories of their past sexual and romantic exploits.
This film was made during the late 60's/early 70's "Swedish Sin" era. Dianne Kjaer ("Dagmer's Hot Pants") was very representative of Sweden's greatest export during that period--although she was red-headed rather than the stereotypical Swedish blonde. She and the other girls are a bit corpulent by today's standards, but definitely pretty. There is a lot of nudity, but very little sex (one of the few graphic sex scenes is actually a hardcore porno movie showing on TV in one of the flashbacks). On the other hand, there is a rather long scene of Kjaer taking out the garbage, wandering around her yard, and then taking off her wig for some reason while the catchy title tune plays. None of this makes this movie sound very compelling, but this is one of those movies that really manages to create a certain feeling or mood, and one that really captures its strange, strange era and perhaps a little bit of the lives of the people in small country where it was made (which, aside from Ingemar Bergman, is far from the center of the international film universe). Jorn Donner, who also directed, was obviously not interested in just making another sex film, and it will no doubt frustrate people expecting such, but he has created an interesting film that manages to be both mundane and strangely entertaining.

F*** Off! shows no false respect towards the authorities in its impudent and candid reportage of the developing country/welfare state Finland. It is a cinematic parallel to Donner's New Book of Our Land (1967). The travelogue focuses especially on Finland's outsiders, low-paid workers and the unemployed. In desolate provinces, the inhabitants of a cold and barren country either humbly abide their fate, choose to move to Sweden or take refuge in excessive drinking. These images are accompanied by protest songs based on Donner's own prose and the lyrics of poet Jarkko Laine. Perkele is embodied in big business and the political elite.The jagged (anti)aesthetics of the film correspond to the underground movement and the radical politics of the time. The camera agilely penetrates everyday life. Though opposed to censorship, Fuck Off! itself transgresses the boundaries of privacy.