At a local car rental shop, Aimée Eccles plays Chris, a practical and assertive woman who works alongside her friend Judy, Jayne Kennedy. Chris clashes with her boyfriend Sandor, a quick-witted man who writes bumper-sticker slogans, and the tension between them becomes the spark that draws in others. When Chris and Sandor both try to enter the same car, they end up inviting a parole officer into their orbit, Jeff Pomerantz portraying Dennis. Dennis unexpectedly winds up refereeing a quarrel between Sandor and Chris, a confrontation that ends with Chris accidentally hitting Dennis with the car, setting off a chain of uneasy, evolving relationships.
The strange night deepens as Dennis is invited to spend the evening at their place, and, in a surprising turn, Chris sleeps with him. The situation becomes more entangled when Sandor discovers the affair. Chris makes it clear that she still loves Sandor, but she also feels a pull toward Dennis, leaving Sandor both annoyed and oddly more amenable to the arrangement as it progresses. Dennis then invites Chris and Sandor to dinner with his ex-girlfriend Jan, Victoria Vetri a former stewardess. Jan and Sandor are drawn to one another, and soon a complicated foursome emerges—Chris and Dennis, joined by Jan and Sandor—with jealousy and yearning shaping the atmosphere.
A beach picnic introduces another layer to the evolving household: Jan meets lifeguard Phil Kirb, Zack Taylor. Phil later sleeps with Chris and moves in with the group, expanding the dynamic to six. Phil’s decision to bring in Elaine, a lawyer, Claudia Jennings, adds professional tension when she discovers Phil’s ex-wife is represented in court by Elaine. Despite this friction, the pair find common ground and genuine affection, smoothing over the earlier rifts.
The so-called “group marriage” attracts intense media scrutiny and heavy criticism, yet the core circle remains committed to their arrangement. Chris faces a profound personal moment when she announces she is pregnant, though she remains uncertain about the father. The fragile structure is tested further when their car is firebombed by unknown assailants, a brutal reminder of the world outside their circle. Elaine boldly proposes that they all marry in a group ceremony, underscoring the radical nature of their lifestyle and their desire for unity.
Jan, feeling constrained by the arrangement, seeks sexual connection outside the group and ultimately leaves them. Yet the ending circles back to a symbolic wedding that captures the film’s spirit of unconventional family and chosen bonds: Chris — now heavily pregnant — exchanges vows with Elaine, Sander, Phil, Dennis, and the newly joined Judy, Jayne Kennedy. Their close friends, including Rodney and Randy, the neighborhood couple known for their candid, bemused commentary, also celebrate in their own wedding, embodying a broader affirmation of nontraditional love.
Alongside the central story, a subtle subplot threads through the narrative: Dennis, the parole officer, grapples with finding employment for Ramon, Pepe Serna, an ex-con who keeps getting into fights. The film weaves a running commentary from their gay neighbors, Rodney and Randy, adding a counterpoint to the main events and highlighting a community that watches and weighs the unconventional life choices of the group.
In the end, the film presents a bold, unflinching portrait of love in all its forms: practical, messy, affectionate, and defiantly personal. The house remains crowded, the relationships remain fluid, and the courage to stay true to their shared vision sustains them through both praise and controversy.
