Category Archives: French



Though “Marvin” was inspired by “The End of Eddy” by Edouard Louis, your Marvin is not an adaptation of that book. Tell us how the film was born.

I felt a very strong connection to the hero of the book by Edouard Louis, and I almost immediately felt like I wanted to make his story my own. I wanted to invent a new destiny for him. Explore the way he had to reconstruct himself after such a difficult separation from that family, and that subculture of France, socially and culturally disinherited. Dream up the crucial influences of his teenage years. In short, adapt it so liberally that “Marvin” could no longer be considered an adaptation, though the book was powerful.

How do you explain the connection that you feel with this character?

I like the idea that powerful people can escape what they are born into, that nothing is ever predestined or doomed, and that it’s possible to transform obstacles into strengths. That is what has always guided me. How do we manage to do that? How do we succeed in transcending difficulties? Those are questions that I, as a completely self-made person, can identify with. Marvin’s journey fascinated me as much as Coco Chanel’s. She, too, was able to invent herself, though she came from an extremely disadvantaged background.

Marvin also has to deal with being different. Having nothing in common with his family or classmates, he is totally alone.

Yes. You’d think he came from another planet. He has the face of an angel, and it’s as if his beauty stimulates the cruelty of others. He is an object of sadistic treatment to his classmates and an object of shame to his family. But that grace, that expression of femininity he carries within him – which is the cause of all that violence – is precisely what will feed his creativity and allow him to find his own path.

Your characterization of the family is never insulting; it even lends them certain humanity.

I felt it was important not to disparage those characters and pin them down like butterfly specimens. It’s their subculture that gave them those often terrifying phrases they say. They do it almost despite themselves; they think from where they stand, with their close-minded languaging. My co-author Pierre Trividic and I didn’t want to judge them.

Despite his ideas, the father is almost touching.

He says “faggots are awful… it’s a disease.” He is obsessed with the norm, but you can tell he is not mean. He has never hit his children, which is already progress by comparison to the previous generation. He is never outright violent. He even makes an effort when he takes Marvin to the train station and gives him money to buy Coca-Cola. He tries to be interested, and that makes him moving because we know full well that he doesn’t care about theater. That’s somewhere else, in another world.

You make him, as well as the character of Marvin’s mother, truly poetic.

There is something theatrical about the father. He makes a show of who he is. He’s not a hick, as his daughter points out. Strangely enough, there is love in that family. It’s lively and complex. Marvin can feed off of that material.

Which feeds them in return?

Yes. In the end, the father manages to say the word “gay” and talk about homosexual marriage. He has opened a door.

The older brother ends up being the only one in the family who is unreachable.

That is also a possible truth of that subculture: the incredible violence that suddenly breaks out from nothing, from the fact that their little brother was hiding in the church to eat candy. Combined with alcohol and his vision of Marvin (a representation of homosexuality), it triggers in Gerald an irrepressible urge to bash. It’s a horrible scene. Dramatically, it was important for the parents to step in. But I wouldn’t say that Gerald is “unreachable.” None of their destinies are set in stone.

You have never delved into that community.

Not being from it myself, I did question my own legitimacy. But I brushed that away pretty quickly. You don’t have to be in it to talk about it. What is essential is to feel things. And I knew them, in a certain way, through one of my grandmothers, who ran a small business under very tough living conditions and who was culturally very close to the Bijou family –

anti-homo, anti-black, anti-everything. As a kid, that intellectual poverty struck me deeply. But she was also a generous woman with amazing humanity. I loved that grandma and got inspiration from her, of course. Just as I got inspiration from the families I met in the area around Epinal – people who are forgotten, living on the edge in incredible poverty and often very close to the Front National. I really settled into the region and stay put. That was the best way to understand it from the inside. Though I’m not obsessed by the documentary aspect, what I showed had to ring true.

Our Top 10 Bestselling DVDs of 2016 & Interview with Tom

What a dramatic year 2016 was for films,  dramatic in other  ways too, but we’re going to focus on the films. To get an industry insider’s perspective we’re bringing you an exclusive interview with our MD Tom Abell to get his take on a wonderful year of films and the changes affecting our industry.

But first; to celebrate a bumper year at Peccadillo Pictures we’re taking you on a tour of our top 10 bestselling DVDs of the year. We searched the world to bring you the most thought-provoking, entertaining and captivating films possible. Whether they were hidden gems like GIRLS LOST or global behemoths like EMBRACE OF THE SERPENT, each DVD is etched with our passion, love and care. Enjoy.

Peccadillo Top Ten DVDs of 2016


The steamy French romance that was ‘too sexy’ for most cinemas, careened into tenth place despite being one of our last releases of the


A beautiful 21st century “coming of age” tale complete with teenage angst, a thumping electronica score and an Isabella Rossellini-voiced Hamster.


Our captivating drama based on the scandalous life of Queen Kristina of Sweden, and her “royal bed-warmer” Countess Ebba Sparre.


A brave and unflinching journey into the hidden world of modern, urban gay life. Told through the eyes of ‘slammers’, survivors and the health workers fighting to protect them.


Once again the powerhouse that is Boys on Film has been a top seller this year, worlds collide in more ways than one in this stunning collection of award winning short films.


A sensation as always, the latest Boys on Film collection is our hottest to date. Between a time traveling closet, a 1976 trouser bar and a “zombie infested” sauna, it will have you re-examining your concept of time, age and the ties that bind us.


The powerful true life story of a forbidden high school romance that was to last a lifetime. Holding the Man will have your heart plunging and soaring. Australian gay cinema has never been so strong.


An intimate film about love, loss and moving on that charts the beginning of the end of a mother’s marriage, the coming of age of her sexually confused son and an awakening that will make or break their new, unfamiliar family. Juliet Stevenson soars in this beautiful British drama set against the stunning backdrop of southern France.


A lonely 12-year-old girl unknowingly becomes friends with one of the world’s most terrifying Nazi war criminals in this dark, intense thriller. Based on true events, THE GERMAN DOCTOR will have your skin crawling and heart pumping all the way up to it’s dramatic, final minutes. This “Mesmerising and haunting” Argentinian film was a huge success across the board, particularly in stores.


Karamakate, a warrior shaman and last of his tribe, transcends the worlds of men and seeks truth through their dreams. Based on the diaries of Theodor Koch Grunberg and Richard Evans Schultes, the only known accounts of many Amazonian cultures, this extraordinary “Oscar nominated” film was destined for our top spot.


So, which ones have you seen? Which titles do you need to see? Get in touch with us on Facebook or Twitter and let us know!


We’re immensely proud of our top 10, and the contribution Peccadillo Pictures has brought to the film world. Our Managing Director Tom Abell, he’s been in the business a “long time” and knows it inside out. Tom’s taken some time out of his very busy schedule to give us a quick interview about the past year at Peccadillo Pictures, the changing face of Film Distribution and our biggest hit of 2016.


Did you have any idea how successful EMBRACE OF THE SERPENT was going to be?


TOM: We thought it was going to be successful, we knew that it would do well but no, its actual success was far greater than we expected. It was a wonderful surprise that the audience in the UK and Ireland took to the film as passionately as we had.


You’re passionate about finding new ways of getting films out there, what has been your most exciting distribution project?


TOM: Well, our most amazing campaign was for cinema release of EMBRACE OF THE SERPENT – most definitely. Every aspect of our promotion and marketing of the film worked perfectly in every single area. I can honestly say that in hindsight there isn’t one single thing that we would change, and it’s not often you can say that.


I think it’s the best campaigns we’ve ever done and we won the Screen Award specifically for that campaign. Getting that recognition from the industry itself was one of the highlights of last year.


Are there any films that you think were unsung heroes of 2016?


TOM: GIRLS LOST. It’s a very special film with lots of important social and sexual commentary, but at no point is it overbearing or preachy. Every country in the world has had problems marketing it, because it’s difficult to define a single audience for it – do you target a gay audience, a lesbian or trans audience or do you market it as a Disney film with a dark side?


It took us a long time, but I do think we got the tone spot on. Unfortunately, it hasn’t yet translated into sales, despite great acclaim from critics like Mark Kermode. It’s a little gem that many people still have to discover.


Peccadillo Pictures will be seventeen years old this year, how has the industry changed in that time and what have been the most dramatic shifts?


TOM: It’s changed enormously, the biggest change has been the move from 35mm to digital for projection in cinemas, and whilst it was supposed to make things more diverse it’s done the opposite. It’s made it much harder for smaller films to get into cinemas and now allows most of the cinemas to play the same films, which is not just pointless its tragic.


Obviously some screens do offer a more diverse selection of films and we applaud those cinemas who are still supporting non-Hollywood films.


How has VOD (Video On Demand) changed the way you distribute home entertainment?


TOM: While our VOD side is growing considerably year on year, it hasn’t yet replaced the revenue we were getting from DVDs. While we’re maybe not making as much money from it as we were in the good old days of DVD It is growing well and I’m quite confident that our success with VOD will continue to grow. For example we’re one of a handful of film distribution companies who have their own own page on iTunes, we have our own Peccadillo Player which is powered by Vimeo and every quarter our VOD sales on Amazon are increasing considerably, so the VOD side is really moving upwards for us.


Thank you for taking the time to read our blog, you can also keep up with the incredible adventures of the winking black cat on our Facebook and Twitter pages. Check back regularly for exciting new updates, exclusive content and information on our upcoming films before anyone else.

Olivier Ducastel & Jacques Martineau talk Theo & Hugo


Théo and Hugo encounter each other in a sex club, where their overwhelming desire creates an unexpected intimacy.

Leaving the club they drift down the deserted streets of nocturnal Paris, but reality suddenly confronts them in an unexpected way. Do they want to know more about each other? Can their trust be rewarded? Will love come with the dawn of a new day?

Told in real time this authentic tale of love and intimacy is Ducastel & Martineau’s (Cockles & Muscles, Drôle de Félix, Ma Vie, Born in ‘68) most ambitious film to date and a candid insight into 21st gay life.

Directors Statement:

Olivier Ducastel: As soon as we started writing it, we knew and Emmanuel Chaumet knew that we’d have to stay in what we call the pirate category of films, completely outside the usual circuits of financing for French films. That makes you consider your film differently from the outset. Not only did it give us great freedom, but it also pushed us to see our ideas through to their logical conclusion: there was no point working in the margins if we were only going to make sugar-coated images. Filming the first scene was also an experiment. We wanted to make sure it was possible to film sex outside “moral” (and economic) restrictions. We also wanted to avoid the usual vocabulary of pornographic films that insert close-ups so they can substitute stand-ins.

I wanted a film about the start of a love story. All our films are about love but I wanted to go back to the source. Maybe we were harking back to Jeanne et le garçon formidable, which was about the birth of an impossible love story. This time, we wanted a tale with a happy ending, even if the characters go through hard times.

Jacques Martineau: We were telling a real story and we were all focused on that so it made filming the sex as natural as we’d imagined it when we conceived the project. It’s not just a scene of sexual intercourse and the demands of the story meant that the “performance” of filming actors with erections faded into the background (even if it’s not the same as filming a family meal!). We had to believe in these two people falling in love and the passionate surge of desire. The main thing, for all of us, was the way the characters looked at each other.

The start of love is also about taking risks. Love itself is a risk. We’re not saying that fucking without a condom is proof of love. This is fiction that presents the moment we realize we’re falling in love and we accept that love even if we know that sooner or later, the price to pay may be high. The risk is also there because nobody really knows what it means to “be in love”. You feel something, you decide it’s love but there is no way to know if it has solid foundations.


Theo and Hugo opens in cinemas and on-demand September 9th 2016. 

Do-root? The 6 weirdest aphrodisiacs from around the world

Has a chubby man in a forest ever offered you a strange mandrake like plant and called it ‘do-root’? Did you take it only to find it was some sort of natural Viagra? Did the whole town you grew up in then take it, and then collectively decide they fancy the pants off you, chasing you out of town in a Bacchic frenzy of flailing limbs and other members?

Armand and Curly: fools in love?

Armand and Curly: fools in love?

Well – exactly this happens in KING OF ESCAPE – the feature film from STRANGER BY THE LAKE director Alain Guiraudie. It’s hilarious. And terrifying. But mainly hilarious. As an ode to this weird natural aphrodisiac, we thought we’d run down some of the weirdest aphrodisiacs around the world: would any of these get you going?

1. Cobra Blood

It's a thing.

Yup. It’s a thing.

According to some men in China – and other parts of Asia – drinking Cobra blood is the equivalent of switching on a sexy lava lamp and the latest XX album.

2. Wine-soaked water lilies

Remind you of anything?

Remind you of anything?

Ok – admittedly this one stems from Ancient Egypt and so I don’t think you’re going to walk into a Tinder-date’s flat to find him/her soaking their lilies anytime soon. But, that doesn’t mean it’s not a neat reflection of some of our modern dating techniques, how different is it from a bouquet of Co-op flowers and some Blossom Hill?

3. Eels

This makes me uncomfortable.

This makes me uncomfortable.

These are large wiggly things that emit a gross slimy substance when touched. Enough said.

4. Sea cucumbers

Irrefutably terrifying.

Irrefutably terrifying.

These are disgusting aliens which crawl along the sea floor in the far east and consume food with their anus. But hey – who am I to judge? Kahloon (one of the director’s at Peccadillo) assures me these are delicious and ‘very good for your knees’. I have my suspicions.

5. Ambergris

Nom nom nom.

Nom nom nom.

Doesn’t Ambergris sound like a delicious, nectar like drink you might find in the South of France, being supped from chalices by beautiful, frisky socialites? Well, it’s not. It’s actually a hard, faecal-smelling substance scraped from the intestines of sperm whales and then bottled into expensive perfumes. That’s right; we live in a world where sperm whale poo is sexy.

6. Asses’ Milk

This guy likes it.

This guy likes it.

Shut your mind, this is the milk of a donkey, and nothing else. In ancient Arabia and Rome women would rub asses milk onto their genitals as a stimulus, and, if you’ve ever heard that myth of Roman Emporer Nero’s wife taking baths in milk, it was in asses milk, for sexy reasons.

I think finishing on Asses’ Milk is always a good call. So there we have it – my top 6 picks of weird aphrodisiacs from around the world. Just FYI, I have a really weird thing about fresh orange juice. If I’m ever drinking it around you, you don’t want to know what I’m thinking.

KING OF ESCAPE is released on DVD on March 23.

KING OF ESCAPE is released on DVD on March 23.

Sex and Politics with EASTERN BOYS director Robin Campillo

Robin Campillo Portrait

When he was in the UK for his promotional tour of EASTERN BOYS, we asked director and writer Robin Campillo to pen a few words on the complexities of his home-invasion-thriller-come-love-story. This is what he wrote:

“Far from casting judgment on the situation of illegal immigrants, or from being a reflection on paternity, this film first and foremost follows the logic of its fictional narrative. It portrays characters living clandestinely that represent both a danger and a promise for one another. Much like Daniel who, when faced with these young men from the East, oscillates between fear and desire, the film threads its way through ambiguous feelings, borderline, indeed marginal situations, but also, I do hope, through moments of pure jubilation.”


Robin Campillo was born in Morocco on August 16th 1962. Because his father was in the army, he and his family moved around a great deal during his childhood and part of his adolescence. During this period, movies became a main theme of his existence. In Madagascar, at the age of 9, he discovered Godard’s ALPHAVILLE in a military theatre where the film was booed. Following this experience he developed a passionate interest for cinema and an array of filmmakers ranging from Jacques Demy to Mario Bava. In 1983 he enrolled in the IDHEC film school (Institute for Advanced Cinema Studies). After graduating, however, he took a break from his film career to dedicate his time to the fight against AIDS. Finally, in the mid-nineties he began a long and fruitful collaboration with Laurent Cantet as co-screenwriter and editor. In 2004 Robin Campillo directed his first feature film THEY CAME BACK, which later became Channel 4’s THE RETURNED.

The Times’ ★★★★★ Review for EASTERN BOYS

On 6th December 2014, the day we released EASTERN BOYS in the UK, the wonderful Wendy Ide from THE TIMES published the following ★★★★★ review of our ‘nail-biting’ film. Have a read below:

Some films take a while to engage their audience. Others, like EASTERN BOYS, grip you from the first frame. This constantly surprising picture by Robin Campillo (writer of THE CLASS) opens enigmatically. The camera hovers high above the Gare du Nord in Paris; it might have been shot by a surveillance drone. We pick out a group of young men, eastern European immigrants, looking for the opportunities that a crowded station offers. Daniel, an older man, moneyed and suited, gazes at Marek, one of the younger men, with something between hunger and longing. They arrange a meeting at his apartment the next day.

Then the tone of the film changes dramatically – the whole gang turns up. He watches as they drink his booze and empty his home of everything they can carry. It’s a brilliant sequence – sexually charged; fluid; dangerous. The camera gets in close, weaving through the dancing bodies at a party that the host has no choice but to join. It’s a credit to Campillo’s confident writing that despite this trauma a persuasive relationship grows between Daniel and Marek. And that, in a meticulously structured, nail-biting final act, Daniel will do anything to secure a new life for Marek.

– Wendy Ide, The Times

Eastern Boys Blog Featured Image

Oo-la-la! C’est Paris on Film

Ever since the Lumiere brothers screened their 46 seconds of footage of Workers Leaving the Lumiere Factory in December 1895, Paris and film have been romantically (what else) entwined. It’s both the city of lights and the city of love – so let’s raise a big class of Bordeaux to Paris.

1. Les Chansons D’Amour (2007)


A real favourite of mine when it came out – an intimate film from Christophe Honore which depicts the fallout of a menage-a-trois – this film could not be more French. Everyone’s sexuality is totally fluid, everyone reads books between threesomes, everyone smokes and everyone’s hot. Plus – in a flamboyant nod to The Umbrellas of Cherbourg – it’s a musical.

2. Angel A (2005)


This little known gem from LEON director Luc Besson – Angel A is pure cinema. Oddly enough, Paris looks most vital when in black and white; this film literally looks like a moving a picture, as in, a photograph that moves. It’s magical, serene, very, very funny and will have you grabbing your beret and blonde bob wig and rushing to St Pancras Intl as fast as you can.

3. Man At Bath (2010)


In this film, another from Parisian Christophe Honore, Paris’s beauty is arguably eclipsed by porn-star Francois Sagat’s bum. A film about accepting that a relationship is over, however painful that may be, but also very much about a hot naked guy in a flat, Man at Bath reinvigorates Gay Paris as something relentlessly hard-core. And I’m ok with that.

4. Ratatouille (2007)


No film captures the magic of Paris better than – ironically – this animation. The scene where Remi the Rat chases that little bit of paper around with the chef that looks like Ronnie Corbett is unforgettable, and I really feel sorry for anyone who watches this film and goes to Paris expecting to get what they watched in Ratatouille. As much as I love Paris, Ratatoiulle quite rightfully omits the stampede of tourists, the drunk men who try and beat you up with a baguette (literally once happened to me) and the pigeons.

5. Eastern Boys (2014)


Political. Sexy. Edge-of-your seat thrilling. The story of Eastern Boys is pure Paris, taking in all the complications that come with this world capital. Dealing with the clash between the middle class, homosexuality, and immigrants from the banlieue, this is an unforgettable cinematic experiences that captures Paris with all its problems, sex and brutality.

Since the days of the French Revolution, Paris has always been a city of extremes. The first and best exposure we had to this in English was unquestionably through Dickens’s Tale of Two Cities, where Dickens added the necessary final clause to the englightened French dictum: ‘Liberty, equality, fraternity – or death.’ Vive la Paris.


– by Will C-H

Highlights of 2014 – Part Two

In the second part of our 2014 highlights we present favorite moments from three more Peccadillo staff members.

Jude Watson-Abell is our youngest staff member and joined Peccadillo as apprentice graphic designer.

You and The Night Quad low res


The highlight of the year was getting to design my first cimema poster for the film YOU AND THE NIGHT. It was the first time I had designed anything like it and it was a great learning experience.  At first it was rather daunting but with the right direction I was able to create a poster that I was proud of. Finishing this poster and seeing people’s positive reaction helped my confidence grow and allowed me to go on to create two more cinema posters.  One for the film THE SAMURAI ,which sold rather well at FRIGHTFEST, and another for the film EASTERN BOYS.

Our new Home Entertainment manager Olivier Namet joined Peccadillo in November 2014:

The Way He Looks poster


My highlight for 2014 was starting work at Peccadillo. I have loved their films for years and now I can continue loving OUR films. My film highlight would have to The Way He Looks. I first saw the short film version (which is one of many extras on our DVD and Blu-ray) at Iris and it was fantastic seeing it become a brilliant, funny, and heart-warming feature.

And finally Rob Fowler is the Peccadillo Pictures finance manager and rarely gets let out of the office…

Tru love DVD


My highlight was going down to the IRIS PRIZE FESTIVAL in Cardiff which is so friendly and welcoming due to the care and attention of Berwyn and Grant and their team. Particularly getting to meet many of the filmmakers showing their brilliant short films – obvious super talented future feature makers. Our film THE SAMURAI was very well received there and the wonderful Kate Trotter won Best Actress for her role in our film TRU LOVE.

Why you should see EASTERN BOYS

At Peccadillo we have literally hundreds of films recommended to us every year and there just isn’t enough time to see them all. EASTERN BOYS was recommended by a sales company that we regularly work with, was premiering at the prestigious Venice Film Festival and the previous work from director Robin Campillo indicated he was definitely someone to watch, but the title of the film and the subject of Eastern European rent boys made it all sound so… 90’s.

It would have been very easy to skip the 9am market screening, but we’re glad we didn’t, because the film was definitely one of the best of the year and in Venice it picked up the Horizon Award for Best film – but that was after we had acquired it.

Eastern Boys Final UK Quad

EASTERN BOYS opens with what can be described as a classic cruising scene. Daniel spots Marek hanging out with friends at the Gare du Nord station in Paris and virtually stalks him until he gets him alone, agrees a price and arranges for the young man to come to his apartment the next day.

When Daniel opens his door it’s to a young boy called Marek, the trap is sprung and then “that scene” happens. It’s the scene that everyone who has seen the film talks about, a celluloid moment that is impossible to erase and is certain will go down in film history as one of the most memorable moments in film – ever.

EASTERN BOYS is both an edge of your seat thriller and an intimate exploration of the evolution and meaning of love, it seamlessly moves between one genre and the other toward an unexpected but ultimately very satisfying ending. The film is one hell of a journey and one that Peccadillo is very proud to bring to you.

So please seek out those few cinemas brave enough to show something different to mainstream holiday fare (there are fewer of them every year) and settle back and enjoy an utterly brilliant cinematic experience.

Director Robin Campillo will be in London to present the film On Friday at The Curzon Soho and on Saturday at The Hackney Picturehouse, click below for details of these and other screenings around the UK

For more and to book tickets:


Feburary’s Must See: Stranger By the Lake

Peccadillo Pictures are thrilled to be behind the critically acclaimed and widely admired gay cinema sensation of 2014; Alain Guiraudie‘s intoxicating blend of bold homosexual erotica and compelling psychological thriller, Stranger By The Lake (L’inconnu Du Lac).

01 stranger

Stranger By The Lake has been praised in countless publications and chosen as a highlight of many must-see lists of the year – Time Out and French film journal Cahier du Cinema, Little White Lies, to name but a few – and it was awarded a five star rating by Empire. It was screened in the Un Certain Regard section at this year’s Cannes Film Festival, where it went on to win the award for Best Director, and the Queer Palm award. It also currently holds an 100% score on go-to film rater Rotten Tomatoes. Guiraudie – one of France’s most accomplished auteurs- is now on his tenth feature and finally earning his place in the art-house limelight. So what, you may ask, is this fuss about? The reasons are multiple.

There’s the atmospheric setting; a picturesque, serene lake in France during a balmy summer, which also happens to be a cruising spot for gay men. A setting that is at once erotically exposed and secretive. When the film gives way to mystery and suspense, the sense of place transforms from a place of natural, pastoral beauty to something more eery and sinister. Of the cruisers, the film focuses on Franck (Pierre Deladonchamps), a highly sought after cruiser in the spot. After several mindless encounters, Frank swims past Michel (Christophe Paou) and rapidly falls into love – or lust – with him, despite warnings from middle-aged Henri, a fat and disillusioned loner he has befriended by the lake. After seeing Michael commit a terrible act of violence, Franck’s unflinching passion threatens to disrupt his moral integrity.

There’s also how celebratory it all is of homosexuality and the male form. It would be a trying effort to find a more sexually explicit art-house film than this, (yes, even Blue Is The Warmest Colour) and a franker portrayal of gay sex so utterly devoid of any inhibition or apology. Likewise, the voyeuristic quality of the sex scenes, plus the treatment of the suspense, expertly echoes Hitchcock; a similarity many viewers are enjoying. The film also moves effortlessly from a sensual art-house film into a murder thriller. Not to mention, there is somehow humour in there too, in the form of an overweight and overtly optimistic cruiser named Eric, always hopefully trying it on with his superior looking fellow naturists. The comedy somehow blends in expertly well, in a film which you wouldn’t expect it to at all; leading this film to become a wonderful and unique hybrid of comedy, romance, erotica and murder thriller.

We could go on, but it would be wiser to believe the hype and experience this absorbing sexual thriller for yourself, in cinemas from 21st February.

02 stranger

03 stranger