Trasgredire Cheeky Tinto Brass 2000 Tras //top\\

To understand Cheeky , one must first understand Tinto Brass. Born in 1933 in Milan, Brass began his career as an assistant to Pasolini before directing political and experimental films. But by the late 1970s, he had found his true signature: a baroque, joyful, and unashamed celebration of the female body, the female gaze, and sexual liberation. Films like Caligula (1979, though he disowned the final cut), The Key (1983), and Paprika (1991) established him as Italy’s elder statesman of erotic cinema — a role he wore with a wrinkled linen suit and a twinkle in his eye.

In the sun-drenched haze of London, , a young and free-spirited Venetian, navigated the city with a playful confidence that turned heads at every corner

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A focus on "profound" curves and the celebration of the female derrière, framed through mirrors and wide-angle lenses [3, 6]. Visual Style:

A chronological overview of influential Italian directors from the late 20th century. To understand Cheeky , one must first understand Tinto Brass

Cheeky (or Trasgredire ) follows Carla, a young woman living in London (played by Yuliya Mayarchuk in her most famous role). She works in a real estate agency but spends much of her time exploring her own sexual identity, her relationship with her boyfriend Matteo, and the liberating potential of voyeurism and exhibitionism. The narrative moves between the couple’s attempts to reconcile emotional intimacy with physical curiosity and Carla’s encounters with various characters who challenge conventional monogamy.

The 2000 Italian film Tra(sgre)dire (released internationally as Cheeky!) represents a significant moment in the later career of director Tinto Brass . Released at the start of the new millennium, the film serves as a stylistic bridge between 20th-century physical cinema and the modern digital era. It is often noted by film historians for its vibrant visual palette, meticulous production design, and its exploration of themes such as personal liberation and the psychology of jealousy. The Linguistic Foundation of the Title Films like Caligula (1979, though he disowned the

The story centers on Carla, a beautiful young Venetian woman living and working in London, awaiting her jealous boyfriend Matteo's arrival. While apartment hunting, she meets Moira, a confident, lesbian estate agent, leading to an immediate and passionate sexual encounter. This act of transgression is just the beginning. As Matteo discovers evidence of her past affairs, the couple explores a provocative idea: Could infidelity, rather than destroying a relationship, actually be a "stimulant" for it?

By the year 2000, Brass had established a recognizable "pop-erotica" aesthetic. His style is characterized by a "carnivalesque" celebration of life and form, often utilizing mirrors and wide-angle lenses to create a sense of openness.

For academic viewing, the Cineteca Nazionale in Bologna holds a restored print.

Clocking in at the turn of the millennium, the film serves as both a vibrant erotic romp and an exploration of female sexual liberation. The clever Italian title itself is a linguistic play on words: by framing the letters "sgre," Brass contrasts the Italian verbs trasgredire (to transgress) and tradire (to betray), establishing the movie’s central thematic question: can a woman explore her deepest desires without truly betraying her partner? Production Overview & Critical Context