– XXX is Celluloid Dimension’s latest weekly column featuring the hottest and naughtiest side of cinema. –
Directed by Joe D’Amato
Written by Rossella Drudi and Claudio Fragasso
Starring:
- Jessica Moore as Sarah Asproon
- Joshua McDonald as Michael Terenzi
- Mary Sellers as Helen
- Tom Mojack as Dan
- David Brandon as Peter
Rating: 
Joe D’Amato’s screwball softcore romp revels in the idea of infidelity and the kinky psychology behind the adventurous people who engage in it. And turns it into a whole movie about it. The delirium of infatuation experienced under the smutty lens of the smuttiest of all Italian sleazebags can be construed as erotic levity designed to titillate its heterosexual audience and satisfy the fetish of macho mentality, but seen from the antagonistic perspectives of the sexual games performed by the insanely hot Joshua McDonald and Jessica Moore, it can be interpreted as one of the most accurate portrayals of man succumbing to the most primal of all the deadly sins: Lust.
Italian cinema sweetheart Jessica Moore plays the licentious writer Sarah Asproon, who is writing a book about all her naughtiest affairs. Michael (Joshua McDonald) plays the impressionable bourgeois betrothed to a gullible middle-class girl who falls under her lecherous spell. Eleven Days, Eleven Nights is the expiration time of their whirlwind romance, meanwhile the sexually persuasive Sarah offers the unsuspecting Michael days and nights of orgasmic shenanigans that achieve the same degree of hilarity as a battle of the sexes comedy – but with perverse goodies. Joe D’Amato’s attempt at delectable pornography struck me as the most artful thing he’s done in his admittedly artless career as an exploitation pornographer; it feels refined and poignant no matter how much carnal drivel covers much of the screen. I’m a staunch advocate of his trademark sleaze, but his directorial concerns in the midst of the coital drama here are more human than sexual, revealing his deeper nature as a filmmaker.
The sexual omnipresence can sometimes be a bit too overwhelming and even be seen as mere padding, yet it is a perpetual form of sensuality that invites the viewer to be part of the primitive desires of our unethical leads, thus functioning as a means of human expression and, ultimately, empathy. Jessica Moore is more than photogenic; she is an exquisite psychosexual asset who arouses interest more for her brashness than her voluptuousness; her captivating persona embodies the idealism of sexual fantasies with eerie precision. But nothing is more precisely candid and bone-chilling than the ambiguous mood with which this tale brings an end to its hot eleven days and eleven nights – it seems the unquenchable passion that consumed Michael and Sarah teaches us that only love on the plane of a thrilling fling is gratifying, outside of it, mundane and unrewarding.