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Paola, a Milan call girl, returns home to her village in the Abruzzi mountains in an attempt to go straight. Rejected by her father, blackmailed by a former lover, and lusted after by her brother-in-law, she turns to her beloved sister for support. Denied succor, like so many of Rossellini’s isolated figures, Paola awaits the arrival of her fiancé, who has offered her a new start, but instead decides that life is untenable.

A dysfunctional family, composed of a prostitute and two gay men, one strong and the other fragile and stupid, lives a routine life in Rio de Janeiro. When the slut threatens the other two to stop supporting them, they decide to find an odalisque as an alternative to keep their easy life.

In this romance, a jilted lawyer joins the French Foreign Legion to help him forget his faithless love. While in the desert he espies a village beauty who is the exact double of his true-love.

Megan Hughes plays Grace Nichols, a businesswoman constantly competing with men to get ahead. Unfortunately, her love life is also suffering. One day, while chomping on a donut, she realizes she's put on a few pounds. She decides to get back in shape, and asks her secretary Angie Li (Candace Kita) if she could recommend a good personal trainer. Angie recommends Brian Lerner (Doug Jeffery), a guy Angie's also been sleeping with for the last few months. Of course, Grace doesn't know that. Grace meets up with Brian, and it's innocent at first. She tosses on the workout clothes, he comes over to help her out with exercising, and goes home. Simple enough, right? However, this is a softcore flick, so you know the sex is coming. Eventually, Grace asks Brian to accompany her to a formal dinner.

At the trial of a judge who was found with a prostitute, a list of clients pops up. It contains the names of some very influential judges and politicians. Then, dead bodies and death threats erupt. Jacques is the trial judge and his own life seems to be in danger...

Mr. Devereaux is a powerful man. A man who handles billions of dollars every day. A man who controls the economic fate of nations. A man driven by a frenzied and unbridled sexual hunger. A man who dreamed of saving the world and who cannot save himself. A terrified man. A lost man.

Two brothers and their little sister are thrown out of their flat because they haven't paid the rent. The orphans pack up their few possessions and go out to the country, where the family owns a small plot of land. The children set up camp, knowing they have to fend for themselves. But this solution is insecure, too: they are told, in no uncertain terms, that all plots will shortly pass to the state unless at least the foundations of a house have been laid. The threesome get down to work, making night-time visits to neighboring sites to 'borrow' tools and materials, then building by day. But no sooner are the foundation walls complete than an unsympathetic policeman ad...

Emiliano looks at his life with the eyes of a film director, mixing the objective reality with the processes of the artistic creation. The story he is filming flounders with his daily life, until his world is trapped in the lens of his camera. Confused, always alone and in front of a screen, now become a transfigured reality, but at the same time a measurable, controllable and manipulable one, he listens in loop to a song: one of those songs you sing or repeat as a prayer and forcing you to remember, believe and convince yourself.

A prostitute is thrown out of her house by her alcoholic father, and her scheming brother-in-law tries to devise a plan to marry her off and make some money in the process.

Choo-hyeon, a film crew member, drives to pick up an actress, but ends up picking up a prostitute named Hee-ra by mistake.

The aging writer Aurelio Morelli is disillusioned: although the critics like his books, they are barely read. He develops hatred on youth and their depraved moral. One night he goes with a callgirl - and kills her. The police doesn't have a clue, only the unscrupulous sensational journalist Bossi suspects him. Instead of naming him to the police, he persuades Morelli to write about the murder for his paper. Morelli uses the occasion to write his memoirs, in which he confesses lots of other crimes before this last one...