Contempt

Paul Javal, a successful French playwright in Rome, agrees to rewrite the script for Fritz Lang's Odyssey adaptation after being approached by Jerry Prokosch. The deal marks the start of a collaboration that will test loyalty, pride, and moral boundaries as the production unfolds.

Camille accompanies Paul on the first day of the project at Cinecittà in Rome. The uneasy balance among Paul, Camille, Prokosch, and Lang foreshadows the tensions that will erupt as the shoot progresses.

Prokosch hosts the crew at his villa and offers Camille a ride in his two-seat sports car. Paul watches for signs of romantic manipulation and growing entanglement between Camille and the producer, setting up a triangle of desire and power.

Camille looks to Paul to decline the ride, but he withdraws and follows by taxi, leaving Camille alone with Prokosch. Paul later explains that he was delayed by a traffic accident as he reappears on the scene.

Camille witnesses Paul groping Prokosch's secretary Francesca, intensifying her suspicions about Paul's loyalty and his intent to use her for Prokosch's advantage. She starts to doubt the sincerity of their relationship and the purpose of the film project.

Back at their apartment, Paul and Camille confront the rising tension as Camille openly declares that she no longer loves him. The admission shakes the foundations of their marriage and pushes Paul to rethink his own choices.

Hoping to rekindle Camille's affection, Paul convinces her to join Prokosch's invitation to Capri for filming. They depart for Capri to shoot the movie, hoping the change of scenery will salvage their relationship.

Capri becomes a stage for a clash between Lang and Prokosch over the correct interpretation of Homer's work, with Francesca acting as translator to mediate conversations. The language barrier and differing visions heighten the production tensions.

Paul sides with Prokosch against Lang by arguing Odysseus left his home due to his wife's infidelity, aligning with the producer's pragmatic view. Camille's suspicion of Paul's servility deepens as she watches the collaboration drift away from romance toward control.

Camille deliberately allows Paul to find her in Prokosch's embrace, and in the ensuing confrontation, she implies that Paul has bartered her to Prokosch. Paul denies the accusation and offers to sever his ties with the film, but Camille refuses and departs for Rome with Prokosch.

After the confrontation, a car crash kills Camille and Prokosch, ending this personal triangle and leaving Paul to face the consequences of the film’s unraveling.

In the wake of the tragedy, Lang continues working on the film while Paul prepares to leave Capri and return to the theater. The production persists even as personal ruin overshadows the project.