Some Call It Loving

In a world where elegance and excess slide seamlessly into the uncanny, Robert Troy—a charismatic jazz saxophonist—drifts between smoky nightclubs and the vaulted halls of his seaside mansion. The house itself is a curated gallery of sensual curiosities, a private sanctuary where every interaction feels rehearsed like a tableau vivant. Beside him moves Scarlett, a mysterious companion whose own rituals of grief and performance shape the atmosphere of their secluded enclave, turning everyday moments into carefully staged spectacles.

The story begins when Troy becomes fixated on a strange carnival attraction: a “Sleeping Beauty” displayed beneath striped tents, forever paused in a flawless slumber. The allure of this comatose figure is as much about the mystique of the exhibit as it is about the underlying economics of desire. Compelled by a mixture of fascination and possession, Troy arranges to acquire the sleeping woman, bringing her back to his opulent residence to join the ever‑growing collection of erotic oddities that define his privileged existence.

Within the mansion, the lines between caretaker and curator blur, as the residents—Jennifer, the newly bought “Beauty,” along with a rotating cast of assistants and students—navigate a delicate dance of control, reverence, and inexplicable intimacy. The atmosphere is at once glamorous and unsettling, a perpetual performance where genuine feeling threatens to eclipse the elaborate façades. As Troy immerses himself deeper into this world of artifice, the film lingers on the tension between the comfort of illusion and the yearning for authentic connection, inviting the audience to wonder how far one will go to keep the dream alive.

Last Updated: December 04, 2025 at 18:23