Trasgredire Cheeky Tinto Brass 2000 Tras ~upd~ Jun 2026

Late 90s/Early 2000s London, featuring iconic locations like the London Underground and Tower Bridge.

Matteo represents conservative jealousy. When he uncovers letters and photographs detailing Carla's past encounters, he is consumed by rage and suspicion. Rather than retreating, Carla leans entirely into her freedom. She participates in hedonistic encounters across London—including a brief affair with Moira and exploratory escapades at a local party.

A chronological overview of influential Italian directors from the late 20th century. trasgredire cheeky tinto brass 2000 tras

The contrast between the modern, bustling streets of London and the timeless, winding canals of Venice provides a rich visual texture.

Trasgredire: Cheeky (2000) - Tinto Brass’s Signature Dive into Erotic Transgression Late 90s/Early 2000s London, featuring iconic locations like

: The film features a bouncy, lighthearted score by the renowned composer, which helps maintain its "erotic dramedy" tone. Cinematographic Style and Reception

Today, Cheeky is best seen as the last pure example of Brass’s pre-digital aesthetic. He would go on to make more films (including Fallo! in 2003 and Hotel Courbet in 2009), but the turn of the millennium marked a shift. The very idea of a “mainstream erotic film” was dying, eaten by the internet. Brass, ever cheeky, seemed to understand this. Trasgredire is, in a way, a farewell wave — a final, joyful middle finger to the idea that sex should be hidden. Rather than retreating, Carla leans entirely into her

Though set partly in London, the film’s most memorable sequences unfold in Naples. Brass, a lifelong lover of the city’s raw, theatrical energy, uses Naples as a character — its narrow alleys, its seaside, its unguarded sensuality. The cinematography by Massimo Di Venanzo is glossy and warm, favoring the female posterior in extreme close-up (Brass’s famous “fondo in su” or “from below” angle). Critics have debated whether his camera is celebratory or objectifying; Brass himself always insisted he films the female body as a director who worships women, not as a voyeur.