Leila (’Lauren Lee Smith’ (qv)) is a sexually voracious young woman who connects with men through brief physical encounters. One night at a crowded house party, Leila meets David (’Eric Balfour’ (qv)) and its lust at first sight. Later, as she has casual sex with a stranger just behind the house, David and his girlfriend mirror her actions in their car. Leila and David’s eyes lock as they watch each other having sex with others, a courtship ritual that initiates their own sexual affair. Seduction is easy and very satisfying. Leila and David get to know each other — which means being intimate — in bed, at the park, on the roof, everywhere. For them, and for other members of their generation, sex is a form of communication. But Leila starts to realize that her attachment to David is different from anything she’s experienced before, and David is just as serious about her. For the first time, they experience needs and desires that go beyond the physical. It is an emotional connection they crave. Afraid of the feelings they have unleashed in each other, they retreat to the safety of their former lives. Real life, and the messiness of emotional attachments, have punctured their sexual and romantic bubble and threaten to keep the lovers apart. David’s father dies after a long illness and he turns to his ex-girlfriend for support. Leila, meanwhile, is distracted by her parents’ looming divorce. Leila and David are trapped between two worlds. Anonymous sex, or sex without context, is losing its appeal. But a conventional approach to commitment - marriage and the seemingly inevitable divorce that follows, as evidenced by Leila’s parents — is not the answer. They set out to find a way to build lust and love, spontaneity and substance, into a new life together.

In 1933, after leaving Dogville, while traveling with her father (Willem Dafoe) and his gangsters to the south of USA, Grace Margaret Mulligan (Bryce Dallas Howard) sees a slave ready to be punished in a property called Manderlay. The slavery had been abolished seventy years ago, and Grace becomes revolted with the attitude of the owners of Manderlay, keeping slaves in their cotton fields and following predetermined despicable rules called “Mam’s Law”. Grace decides to stay with some gangsters in Manderlay and give notions of democracy to the slaves and to the white family. When harvest time comes, Grace sees the social and economical reality of Manderlay.

A former rockstar Johnny Boz is brutally killed during sex , and the case is assigned to the Detective Nick Curran of the SFPD . During the investigation , Nick meets Catherine Tramell , a crime novelist who was Boz’s girlfriend when he died . Catherine proves to be a very clever and manipulative woman , and though Nick is more or less convinced that she murdered Boz , he is unable to find any evidence . Later , when Nilsen , Nick’s rival in the police is killed , Nick suspects of Catherine’s involvement in it . He then starts to play a dangerous lust-filled mind game with Catherine to nail her , but as their relationship progresses , the body count rises and contradicting evidences force Nick to start questioning his own suspicions about Catherine’s guilt .

Since a road accident left him with serious facial and bodily scarring, a former ‘TV scientist’ has become obsessed by the marriage of motor car technology with what he sees as the ‘raw sexuality’ of car-crash victims. The scientist, along with a crash victim he has recently befriended, sets about performing a series of sexual acts in a variety of motor vehicles, either with other crash victims or with prostitutes who they contort into the shape of trapped-corpses. Ultimately, the scientist craves a suicidal union of blood, semen and engine coolant, a union with which he becomes dangerously obsessed.

Kathryn makes a bet that her step-brother, Sebastian, won’t be able to bed Annette (a virgin, who wants to wait until marriage) before the start of the school year. If he loses, Kathryn gets his Roadster, if he wins, he gets Kathryn