Touching and orgasm alone cannot relieve a woman's desire to be entered, to be sown, to have a bulging belly, and to be the end of "love".
Performing artists, more inclined to women, long for the inhabitation of another subject, and give birth to a hybrid fusion, so they are content to be themselves.
The whole film is a make-up show of making love. Farinelli goes from moaning to the climax of physical and mental pleasure, and the film also completes the shaping of the role of the castrat singer.
Brother Riccardo's music and Farinelli's copulation skills are the same as women's sexual fantasies, and there is no art at all (or inability to conceive). A female audience member told Farinelli naked that he gave her a "musical orgasm". It wasn't until Handel threw Farinelli from the cane that Farinelli enjoyed the feeling of being shot and shot, and sang a touching voice - the only sexual enjoyment in the entire movie that has a heart.
The director has exported his own movie, which has nothing to do with Farinelli, so every time I see Farinelli's mouth, the only thing I can think of is a woman's pussy, trembling with excitement, opening and closing slightly.
Since Handel impregnated Farinelli, the heroine in the film should have at least one chance to be penetrated by a hard phallus, so there is a three-person bed-sharing ending. The woman still looks at Farinelli next to her affectionately, It seems that Riccardo is really only an erect penis.
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