No one films interiors like Tinto Brass. His sets are baroque overloads: velvet drapes, polished mahogany, Art Deco mirrors, and Venetian chandeliers. This isn’t just decoration. For Brass, eroticism is a theatrical performance that requires a stage. The furniture is as important as the actors. A woman sitting on a chaise lounge, adjusting a stocking, becomes a geometric composition of curves, shadows, and fabric. It’s no accident that Brass studied at the Accademia di Belle Arti—his frames are stolen from Titian and Veronese, only with more zippers.