Sweet Movie

Miss Monde 1984 / Miss Canada wins a beauty contest whose prize is marriage to a powerful milk industry tycoon. She privately tells her mother-in-law that she intends to leave the marriage. The mother-in-law reacts with hostility, and the situation escalates into a near-fatal threat that forces her to flee with help from the family bodyguard.

The mother-in-law’s hostility culminates in a near-killing attempt driven by puritanical control. The family bodyguard intervenes, intensifying humiliation and coercion around the escape. The incident underscores the oppressive dynamic of the marriage and its handlers.

The bodyguard packs her into a trunk bound for Paris, marking a drastic confinement within the marriage. She endures a claustrophobic journey that cuts her off from her previous life. The voyage becomes a turning point toward a new city and new possibilities.

Arriving in Paris, she encounters the Latin singer El Macho on the Eiffel Tower, a surreal moment that feels both romantic and dangerous. They begin a sexual exchange, defying the expectations imposed on her by her marriage. The scene hints at freedom intertwined with peril.

The lovers are interrupted by touring nuns, whose intrusion shatters their private liaison. The disruption leads to a shocking, symbolic moment of upheaval within their encounter. The event deepens the protagonist's sense of confusion and loss of control.

Following the Paris episode, she is adopted into an artist commune led by Otto Muehl, where she receives care and unconventional companionship. The community immerses her in liberating artistic experiments and open vulnerability. The environment contrasts sharply with her earlier confinement.

Within the commune, members stage liberating sessions that culminate in a (re)birth process. A participant undergoes crying, urinating, and defecating like a baby while others provide care and pampering. The scene emphasizes raw communal ritual as a form of healing or transformation.

She later appears in a television advertisement where she is naked and covered in liquid chocolate, striking seductive poses under bright studio lights. The shoot ends with a theatrical image of drowning in the chocolate, a grim culmination of the commercial fantasy. The sequence blurs lines between performance, exploitation, and personal degradation.

The second narrative follows Anna Planeta, who pilots a candy-filled boat through the canals of Amsterdam with a large papier-mâché head of Karl Marx on the prow. The whimsical voyage sets up a counterpoint to the Paris sequence, introducing themes of revolution and excess. She warns a hitchhiking sailor Potemkin that falling in love will be deadly.

Potemkin, a sailor hitchhiking, joins her boat despite her warning that love will kill him. Their relationship deepens amid sugary sensuality and political undercurrents. The alliance between a romantic dreamer and revolutionary figure contrasts with the previous Paris sequence.

During intimacy, Planeta fatally stabs Potemkin, killing him within their sugar-laden nest. The act blends love, power, and violence, suggesting that control runs through both narrative threads. The murder marks a pivot toward darker consequences of her world of sweets and revolution.

She seduces children into her world of sweets and revolutionary ideas, pushing them toward a collective fantasy. Dutch police arrest her, placing plastic sacks along the canal that contain the children's bodies, signaling a grim broadcast of the crimes. The scene culminates in the unspoken horror that haunts the end of the film.

The film closes on a surreal note as the children emerge unseen by the others from their plastic cocoons. The reversal hints at cycles of birth and rebirth, dissolving the boundary between life and manufactured life. The final image leaves the viewer with ambiguity about the future of these children.