Belle D' Jour introduced me to Luis Bunuel. Now TOOOD continues this dark exploration of the European psyche. The women are innocent and vixen at once. Perhaps that is why Bunuel used two women to play the same part. I must say he almost got away with it seamlessly for my "lovely one" swore it was the same woman, but I got it by the time the flamingo nude scene appears. We were also shocked by the caresses of the chest scene, which in commercial film is rare today although in the late sixties, seventies, and part of the eighties, the obligatory nude love scene on American screens were mandatory. That's gone. Now we just have blood splattering gratuitous violence.<br /><br />My only objection to this film is the insertion of cheesy terrorist scenes. I don't know if these silly explosions, the unrealistic destruction of automobiles was limited by budget constraints, or if this was a campy outing of those funny terrorists we have come to know so well over the last forty years.<br /><br />The desperate Fernando Rey, the older, richer, still amorous over-the-hill desires his eighteen-year-old Conchita and the game begins. An old story is stroked for the amusement of the audience.