
Horse Fever
1976

1981
Director
Steno
Runtime
100 minutes
Average Rating
No ratings yetSynopsis
Lucia has been married for ten years with Julius who is fond of horses and seems to prefer his wife. Lucy tries then ingelosirlo inventing a lover who sends flowers with tickets compromising and makes mysterious phone calls. But Julius seems immune to any kind of jealousy. Then one day is hired as a bodyguard by Lucia Diego, Diego, who has a passion for Rudolph Valentino and thinks he is a great seducer, Diego has a girlfriend away, Nunzia. And things start to get more serious.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film focuses entirely on a heterosexual marital dynamic. There is no evidence of non-cisnormative identities or narratives that critique heteronormativity.
Gender Representation
Lucia shows agency by manipulating her husband's emotions to regain his attention. However, the plot reinforces conventional gendered interactions through its reliance on traditional romantic tropes.
Racial & Ethnic Diversity
The narrative centers on a homogeneous social environment typical of its era and region. There is no evidence of a diverse cast or race-bent casting.
Religious & Cultural Diversity
The story operates within traditional Western social values and the framework of the nuclear family. It engages with standard comedic tropes rather than challenging established institutions.
Disability Representation
There is no information available regarding the depiction of physical or neurodivergent characters in this work.
Strengths
Areas for Improvement
AI Analysis
The Tango of Jealousy is a traditional period comedy that relies on established narrative tropes of marriage and domestic dispute. The plot centers on a woman's attempt to spark jealousy in her husband through a third party, a structure that prioritizes interpersonal melodrama over social exploration. While the protagonist displays a degree of agency, the film largely adheres to the cinematic conventions of early 1980s European comedy. It functions within a homogeneous social context, reflecting the demographic norms of its time without attempting to disrupt social hierarchies. Ultimately, the film lacks intentionality regarding intersectional representation. It remains a character-driven comedy focused on romantic manipulation rather than a critique of systemic power or identity.

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