Diana (Roman beauty Claudia Koll) has been happily married to her husband Paolo (a mediocre Paolo Lanza) for five years. Although at first glance it might seem like a happy marriage, Diana repeatedly displays an uncontrollable desire for other men. Paolo isn't sure yet, but judging by the erotic stories Diana shares with him daily in the privacy of their bedroom, with her always being the protagonist of various sexual encounters with strangers, Paolo begins to suspect that his wife goes beyond mere fantasies. He suspects that these illusions are based on real events, especially when, one night, he finds a physical mark on her neck, which she is unable to explain, which inevitably leads to the couple's separation. Sad and helpless, Diana succumbs to sadness surrounded by a good handful of sycophants who, taking advantage of her vulnerability, "protect" her with touches and propositions.
“Così Fan Tutte” is entertaining and offers that obsessive refinement of Tinto Brass, bordering, in some cases, on high-end pornography. His obsession with female voluptuousness, always susceptible to anal invasion, as well as the use of rubber penises to simulate various explicit (or almost) actions, are a trademark etched in the filmmaker's latest works. The character of Diana works as a saleswoman in a lingerie store, something all too convenient for filling the screen with sex and dangerous curves. Hence the famous “coin test,” according to Brass himself: “I present the actresses in miniskirts and without panties, I throw a coin on the floor, and depending on what they let me see in their gesture, I perceive their cinematic potential. Believe me, it's an infallible method.” The guy is something to behold.