Sexo por compasión

This is a highly unique film, one I would consider more "expressionist" than surreal in style. The acting is wonderful, the art direction good, and the message elusively simple. The heroine - incredible as it sounds - makes sex with essentially every man in town: not once, but regularly. As a result, she attracts a congregation far larger than that of the local church, which is a story in itself. But what draws the men to bed with this plump, good-natured middle-aged woman who suffers an "excess of goodness"? Her compassion, her understanding, her charitable advice - all of it free.

In brief, while churchly figures may strive to avoid sin and devote their spirits to meditation and repentance, such self-centered acts do little to guide or succor or console their fellow man. This woman discovers - and wow!, with such a human and comic touch - that more can actually be achieved if we only sin a little.

It's difficult to say more without disclosing the whole plot - though actually, even if one knew the story in advance in full detail, the timing and expressive acting still would make it fun.

I'll add for clarity that this film contains no nudity and no foul language that I can recall (unless a reader would consider, e.g., "gilipollas" foul), and that it is "adult" most of all in the sense that only relatively thoughtful, intelligent people are likely to understand it - be they children or senior citizens.

Okay - one little gripe. I didn't really appreciate the humorous intrusion of the talk-show host for Univision's "Hasta en las Mejores Familias" or whatever the program's called. She appears as the enraged madam of the local brothel. I'm sorry. Really, I am. But if it'd been anyone from Despierta America, like the charming news person from Honduras, or Giselle or even their dog, I'd been happier. But not Mejores Familias! She was excessive.

I watched the movie as part of a Spanish study project. I am fairly new to foreign films in general and am fascinated by the different cultural ideas that come through. In this film, the story was very simple on one hand but on another level - greatly complex. Seeing the comedy of another culture other than the one I was raised in is possibly one of the most educational ways to understand that culture. I throughly enjoyed the movie and don't feel that I can improve on the improve upon the already great comments posted here, but...... I do have a question about the soundtrack? I am haunted by the song sung during the closing credits - its beautiful and the singer has a wonderful voice. Does anyone know who sings the song (and the title) which is on the closing credits. I've poured over all of the credits a dozen times and searched the musical composers, and a number of the other names, but can't find the song or artist. I don't think she was credited, but my Spanish is not good enough yet to know for sure. If anyone knows the artist or song, I'd greatly appreciate a comment.

A movie that gives ground for reflection and thought .What is justice and how we judge others ? Do we judge based on their actions or based on their intentions? If people judge Lolita based on her actions she should be condemned as a whore and realizing that they start throwing the biblical stones at her.

If they judge her based on her compassionate nature and good intentions to help the poor unloved men – then she should be regarded as a saint.

Interesting –who are we to judge others. What is right and what wrong? Under what circumstances something is wrong or right? One of the best movies I've seen recently. Kudos for Laura Mana- writer and director.

'Sexo por compasión' (COMPASSIONATE SEX) is a rare little film created in 2000 by Spanish director and writer Laura Mañá that dares to address controversial issues of marital fidelity, the 'oldest profession in the world', the impotence of a Catholic priest in holding his community together, and the irresistible importance of physical discourse in mending misconceptions and misunderstandings. Quite a challenge taking on all of these topics, but Laura Mañá has the skills to pull it off with the use of 'magical realism' and alluring cinematic knowledge and techniques. The final product is a joy! The setting is a small village (either in Spain or Mexico, we are not told exactly) on the verge of dying due to the bland boredom and blanket sadness of the town folk, the lack of children being born and in general due to a languorous malaise. The film is shot not in black and white but varying shades of gray. Dolores (Elisabeth Margoni) is an overweight childless woman obsessed with doing good deeds for others, a fact that drives her husband Manolo (José Sancho) berserk, threatening that if Dolores is unable to come up with an act that demands his forgiveness he will abandon her. Dolores seeks advice from the village priest (Juan Carlos Colombo) in confessional, but the haughty padre is angered by the fact that Dolores daily visits the confessional with nothing to confess. He tells her to go out and sin and then he will be able to hear her confession! Manolo leaves and the devastated Dolores is encouraged to move into the tavern owned by Floren (Mariola Fuentes) and with the loving advice of her friends she hears that the town is dying because the married couples are depressed. The sensitive Dolores hears from both the men and the women and under the pseudonym of Lolita, she invites the husbands to her new bed for free advice, consensual sex and enrichment. Lolita has discovered the source of the town's sadness and soon has slept with every man and keeps her free nurturing going while the women of the village marvel at how their husbands have changed for the better. At this point the town becomes alive, lovely, flowers grow, etc and the film is now in color.

Seeing the changes that have occurred drives the priest to build a cross and perform a ritual crucifixion! The women find Manolo and tell him how the town has changed and why - and the fact that all of the villagers consider Dolores/Lolita a saint. Manolo returns, is enraged, gathers the men together to convince them his wife is a prostitute and the town's life and joy return to the gray of black and white film. The women of the village are convinced that Manolo must be informed as to the sacrifice Lolita has been making and in order to do so they visit Manolo's humble house and line up for a toss in the hay with Manolo: after only several of the many women exit the house with smiles and gleams of physical satisfaction, Manolo weakly emerges admitting that such a process is indeed a sacrifice! How the village manages this mutual acceptance of Dolores and Manolo and incorporates the newfound 'therapy' into their lives constitutes the warmly humorous ending.

The large cast of unknown actors is splendid. There are many cameos (Leocadia played by Leticia Huijara is a zany old lady who insists on photographing herself and the events of the village on a daily basis!, etc) and Laura Mañá handles the direction of this potentially difficult story with amazing finesse. We can only hope she continues to create other films as unique and satisfying as SEXO POR COMPASION! Grady Harp

Much like "Lolita", the main character of the film, "Sexo por compasión", the film, revitalizes the desire to live in all who experience her. The beginnings of the film are decidedly gloomy and grey, but it grows colourful and cheerful. During its progress, it touches on sensitive themes of love and sex with a profound understanding. Despite its adult themes, the movie is as far removed from porn and "erotica" as possible. It is intended indeed for mature viewers, who do not need nudity or sweaty sex scenes to understand the themes.

This is a strong movie on all accounts. Deliberate directing, charming characters and an optimistic view of life bring it well through. What's noteworthy about the characters is that they aren't cast into restrictive roles, instead they work together to create a living village. Humorous, warm-hearted and imaginative, everybody should see Sexo por compasión.