Trasgredire was written and directed by the maestro himself, . The screenplay was a collaborative effort, with Brass working alongside Carla Cipriani, Nicolaj Pennestri, Silvia Rossi, and Massimiliano Zanin. The film was produced by Massimo Ferrero. Behind the camera, the film was brought to life with lush, vibrant visuals by cinematographer Massimo Di Venanzo , and the unforgettable, bouncy score was composed by the legendary Pino Donaggio . Donaggio, famous for his work with Brian De Palma on films like Carrie , brings a playful, energetic quality that perfectly complements Brass' visuals.
Carla assists a photographer shooting a naked model. The model jokes, the camera lingers, and Carla’s reflection shows her arousal. This scene immediately establishes the film’s thesis: looking is not a crime.
During her search, Carla meets several characters who embody the eclectic spirit of the city. She develops a flirtatious relationship with her landlord, Bernie, and engages in a series of erotic misadventures that challenge her loyalty to Matteo. The Climax: trasgredire cheeky tinto brass 2000 tras
Director Tinto Brass is known for his distinctive impressionistic style, characterized by his use of mirrors, that mimic the subjective gaze of an observer, immersing the audience in a world of voyeuristic fantasy. His camera is inseparable from his renowned "fetish for the female derrière"; Trasgredire is full of scenes framed to highlight the curves and contours of the actors' bodies. Critically, Brass films the female body not as an object to be conquered, but as a source of joyful, unapologetic power.
Below is an in-depth exploration of this essential entry in Tinto Brass’s cinematic catalog. 🎬 Production & Release Overview January 28, 2000 (Italy) Director: Tinto Brass Trasgredire was written and directed by the maestro himself,
The Italian title Tra(sgre)dire is a clever pun on trasgredire (to transgress) and tradire (to betray).
The production of Trasgredire is a testament to Brass' artistic methods. Despite the plot being set in London, the majority of the film was not shot on location in the UK. Instead, the interiors, including the iconic loft overlooking the Thames, were constructed on soundstages at the legendary studios in Rome. This choice allowed Brass and Di Venanzo to have complete control over the film's distinctive use of space, light, and color, which are among the film's most praised attributes. For the actors, the production was intense. Mayarchuk later revealed that the two most difficult scenes for her were a simulated sex scene in a gondola and the infamous anal sex scene on a beach. She described the psychological block and anguish she felt, even knowing it was a simulated performance. Behind the camera, the film was brought to
To understand Cheeky , one must first understand Tinto Brass. Born in 1933 in Milan, Brass began his career as an assistant to Pasolini before directing political and experimental films. But by the late 1970s, he had found his true signature: a baroque, joyful, and unashamed celebration of the female body, the female gaze, and sexual liberation. Films like Caligula (1979, though he disowned the final cut), The Key (1983), and Paprika (1991) established him as Italy’s elder statesman of erotic cinema — a role he wore with a wrinkled linen suit and a twinkle in his eye.
A bold, rule-breaking red wine with playful audacity and a brassy finish — uncork the spirit of transgression, vintage 2000.