Four tales of Jean la Fontaine tell in a libertine way. The pleasure of infidelity is described in all forms: a woman seduced by her servant, a man seduce his servant, the wives of Messire Guillaume, and a bourgeois and a nun.

Dean, a failed American writer, receives some unexpected news: his wife, who belongs to a wealthy family, has filed for divorce. Stunned, he decides to commit suicide. His initial attempt fails when he has second thought. But during a drunken blackout spent gambling he wins big and promises all the winnings to the man who can kill him...but they must possess a special playing card.

Emmanuelle is a haughty aristocrat who likes to humiliate her servants. One day, her life changes completely as she is raped by three of her servants. The experience turns out to be an enjoyable one as it turns Emmanuelle into sexually liberated woman. She convinces her husband that seeing other people will improve their relationship. But after a while, this erotic life seems to have a downside.

1982 film by Jesús Franco

势利的贵族塞西拉在多次向仆人炫耀她无与伦比的身体后，成为强奸的受害者。但这种经历引发了肉体的觉醒，充满了社交名媛性派对和林地狂欢。不久之后，塞西莉亚发现她的多情冒险失控了，尤其是当她的丈夫决定加入自由恋爱的生活方式时。 基本上《塞西莉亚》的故事主核还是爱怨纠葛的情感悲剧，而历史则是覆盖在情感骨络上的血肉，这正是索拉斯作品的典型风格，在他的影片中我们常常看到的是爱情的阴暗面-贪婪，虚伪，背叛，嫉妒，仇恨，悲伤或恐惧，它们同样是人性的弱点，而对它们的刻画是隐藏在庞大厚重的时代背景下的，同时索拉斯又以细腻的影像构图和具有飘浮感的镜头运动把这出人性的悲剧描绘得如血色般唯美，他的电影总能显露出一种与众不同的精致和高贵，这是其他很多拉美影片所不能相比的。你想象中第三世界电影的粗糙、朴实、不注重技术在索拉斯的电影里完全看不到，而他对整体场景的熟练调度和推到极致的人物特写镜头则会让你赞叹于他对细节的偏好。在整个拉美影史上，索拉斯也是最善于运用特写镜头去表现角色复杂情感的导演，在他的处女作《露西亚》中已初露端倪，而这也意味着与他合作的演员必须要有超一流的演技，人物的化妆和造型也要非常到位，令人惊讶的是此次出演塞西莉亚的古巴著名女星Daisy Granados（曾主演过《低度开发的回忆》和《特蕾莎的肖像》）已经40岁了，而在片中我丝毫感觉不出她的年纪有那么大！化妆师的功力可见一斑。

Susan arrives in Haiti to live with her husband Jack, who lives with a lesbian housekeeper and Olga, a nymphomaniac platinum blonde, introduced to her as Jack's sister. Susan begins to have nightmares about voodoo ceremonies and murder.