SWEET MOVIE

The first narrative follows Miss Monde 1984/Miss Canada, who wins a contest of the "most virgin"; her prize is the marriage to a milk industry tycoon. However, following his degrading puritanical introduction to intercourse, she vents her intention to leave to her mother-in-law who, at that point, nearly has her killed. The family bodyguard takes her away, further humiliates her, and finally packs her in a trunk bound for Paris. She finds herself on the Eiffel Tower, where she absently meets and has intercourse with a Latin singer, El Macho. The sexual act is interrupted by touring nuns who frighten the lovers into penis captivus. In her post-coital shocked state, she is adopted into an artist community led by Otto Muehl, where she finds affectionate care. The commune practices some liberating sessions, where a member, with the assistance of the others, goes through a (re)birth experience, cries, urinates and defecates like a baby, while the others are cleaning and pampering him. Later she is seen acting for a television advertisement, in which she is naked, covered in liquid chocolate, striking seductive poses and finally drowned in the chocolate.

The second narrative involves a woman, Anna Planeta, piloting a candy-filled boat in the canals of Amsterdam with a large papier-mâché head of Karl Marx on the prow. She picks up the hitchhiking sailor Potemkin (a reference to the 1925 Soviet film Battleship Potemkin), though she warns him that if he falls in love, she will kill him. He ignores her warnings for him to leave and their relationship evolves. In the state of love making, she stabs him to death in their nidus made of sugar. She then seduces children into her world of sweets and revolution, eventually getting arrested by the Dutch police who lay down plastic sacks containing the children's bodies on the side of the canal—implying they too have been murdered by Planeta. The film ends with the children, unseen by the others, being reborn from their plastic cocoons.

Miss Monde drifts through humiliations and liberation, while Anna Planeta's revolutionary journey ends in murder and arrest; the children she seduced are revealed to be reborn from their plastic cocoons.

The ending of Sweet Movie is both grotesque and allegorical, juxtaposing bodily excess and social commentary. Miss Monde’s odyssey through humiliation, sexual spectacle, and communal rebirth serves as a critique of purity myths and capitalist exploitation. Anna Planeta’s arrest and the resurrection of the children hint at cycles of violence and renewal in revolutionary movements. The film concludes in a swirl of provocation, leaving its characters—and audience—caught between liberation and absurdity.