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Erotic Tales

2000, Movie, NR, 90 mins

Erotic Tales: Review

EROTIC TALES
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An art-house variation on the Red Shoe Diaries, this package of three short films originally produced for German television is sex-themed without being especially sexy. The brainchild of producer Roberta Ziegler, the Erotic Tales series produced more than two dozen 30-minute films in four series between 1994 and 2002, most by well-known European and American filmmakers. The first in this collection, Susan Seidelman's The Dutch Master (1994), was part of Series One and revolves around repressed, about-to-be married dental hygienist Teresa (Sorvino). Much to the surprise of her co-workers Kim (Aida Turturro) and Dorothy (Sharon Angela), with whom she regularly eats lunch on the steps of the Metropolitan Museum of Art, Teresa one day ventures inside and becomes obsessed with Dutch painter Pieter De Hooch's "The Drinker." Day by day, Teresa becomes more deeply enthralled by the painting — particularly the 17th-century hunk observing the tipsy young woman for whom it's named — until it seems she finds the painting more real than her own life. The second, Amos Kollek's Angela (2000), debuted as part of the fourth series. A bored septuagenarian (Victor Argo) gets a new lease on life after a phone call from a forward, sultry voiced young woman — the titular Angela (Valerie Geffner) — whose carnal high jinks he's been watching from his apartment window. But when they finally get together, he discovers there's more Angela than meets the eye. Kollek fans will recognize this tale, which he recycled with a few changes and the same cast, as a subplot in his feature FAST FOOD FAST WOMEN (2001); in both cases, Argo's low-key performance is the highlight. The final film, Dutch director Jos Stelling's The Waiting Room (1995), was part of the second season and is told entirely without dialogue. While his wife (Annet Malherbe) goes in search of coffee, a man (Gene Bervoets) with roving eyes spots a brazen beauty (Bianca Koedam) who looks right back, then makes a surprising move. With its sly reversal of the balance of erotic power, The Waiting Room is the best of the batch, but it's still a trifle. leave a comment --Maitland McDonagh
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