Kiki, Love to Love

Kiki, Love to Love

Bursting with colours of grapefruit flesh and fig, and moving to the vigorous rhythm of copulating wildlife, Kiki, Love to Love is like a collection of sensual frames from several dramas: scenes meant to be reprieves from main plots to delve into characters’ intimate moments, or distractions of yearning moods. Only, here, these distractions are in need of distractions, intimacies are explicit, the frames salacious. In other words, this Madrilenian feature by Paco Leon with five distinct storylines is curious.

Natalia (Natalia de Molina) and Alex (Alex Garcia) are a young and beautiful couple much in love (and lust) until she reveals how an episode at the petrol-station in which she was held at knife-point by a robber had brought on an orgasm more intense than any she had ever had.

Ana (Ana Katz) and Paco (Leon, himself),both liberal-minded and arguably progressive are married for eight years, and things have begun to turn stale. So, when a flirtatious friend, Belen (Belen Cuesta) shows up flaunting kisses and breasts, juicy ideas start to flow.

Candela (Candela Pena) is a woman longing to be a mother. The doctor tells her a paucity of climaxes on her part during love-making may be the problem in her maternal quest. Then, the fortuitous realisation she seems to be aroused by her husband Antonio’s (Luis Callejo) tears means she now has a lot of planning to get into.

Meanwhile, Doctora Ginecóloga (Blanca Apilanez), a plastic surgeon ejaculates each night as he watches his wheelchair-bound wife (Mari Paz Savago) sleep. To ease his sexual tension he allows himself to drug her and succumb to the blackmail of their housekeeper.

Sandra (Alexandra Jimenez) is a half-deaf woman who finds sensory gratification in fine fabrics. As a translator for the hearing-impaired she encounters a boy for whom she acts as an intermediary with a sex-line operator.

Working with  chutzpah and creativity, Leon appears to take sexual imaginings to the point of parody. The film refrains from going on overdrive in the actual act. But the dialogues and narratives are saturated with the subject. Characters are preoccupied either with fulfilling their own fetishes or those of their lovers.

Kiki, Love to Love does not pretend to be more than fluff. The acting, however, is first-rated, and the colourful cinematography (Kiko de la Rica) excellent, although on a whole the movie reminds me why I am sometimes nostalgic for black-and-white pictures, where reprieves add to the tale, rather than bunched up into something without reprieve.