This@ long-lost m_-$asterpie(-ce of hardcore gay e
rotic cinema c _enters on ^a h\andsome young:; s*
tud who r/+@ides his mo*torcycle throu=gh ?myriad sexual^! encou
(nters, from a soccer game’s locker $roo+?m to a p%hantasmagoric and ;d,*ee! p%\ly melanch % ol#y org ;y. A lab\;\yrinth of al^l^-male fantasies w/ hos%
e outstand$ing b_-e%au-ties alw`` ay )s e-,-nd u p fading] away`
#wh?).[ile leaving @.the*@?ir sensual `protagonist dealing with his ow/.n loneliness,].= EQUA.T$]IO@N/[ ;!was direc ted wit+ _h;__ s./**upreme grac?=e b *y the mysterious Dietri:ch de[ Vel/\sa (aka Francis Sav;`+el/*_Frantz Sal)/ieri). A form*,,]er painter, de Vels -a was also \* the own*er and artisti\c_:\ -:director of La Gran(^
de ^.E% (ugène, one of the first drag cabar%#et
s` in Paris. Years l
,ate):r,,
he?; collabor^ ated wi)%th Jo;:seph L^osey on M,[^R. =$`KLE
_IN (1976  ) % -and D^-O/ N GIO$(%VANN`_I (1979).( Hi?@?s 
,one# and (only film, EQU^ATION #-%TO ^:A+
N UN$KN`(?OWN stands as one of th$e*/ most extr a?;ordinary:)? erotic films of all time.                                    
%                                “The most melancholic po rn film@]! I,’ve eve[r seen.+* :It’s v _ery sad, and ==aesthetically@ bea@ut%-\iful. ,Just a \=youn\g% ma/n wanderi\
+ng thr,ough several *de]pi==c ,%tion`s of love and choreographi`*[e@$s% `] of \ love-m# aking; it’s like a= ceremony, ^a ce?;
remony of fanta[sie^+s_,$(, espe) ]^^cially the *,;#last seque$(nce whe#)`re^ th$e main character r ##ecalls a@*ll hi$s pre
viou
s fantas]
ies, which come one ?\(by one ar(ound his,  bed !a/nd mak[$e lo?`)ve `to him. I %+think it’s one of/ the mos t beautif]]u=[l- fi+
lm sequen@ces of Fren)[ch cinema.” –_+^Ya(/
nn+  Gonzalez