Given the popularity of the term, counterfeit or mislabeled files have appeared. Here’s how to identify the authentic Summer in the Country 1980 DVDRip New Fixed:
The breakthrough came in March 2023, when a user on a private tracker simply called “The Vault” uploaded a file with the exact title: “Summer.in.the.Country.1980.XXX.DVDRip.New.Fixed.mkv” . The release notes were unusually detailed:
Source: Unopened TDK VHS tape from 1984, labeled ‘Summer Country – Master’. Captured with JVC HR-S9600U TBC, denoised via Avisynth, re-synced audio, fixed dropout using alternate 8mm loop source. No watermarks. No re-encoding artifacts. This is the definitive version.
The “new fixed” tag indicated three major improvements:
Additionally, the file was encoded in modern x265 at a modest 1.2 GB, making it far cleaner than the old 700 MB XviD rip.
Television was transitioning. The era of the "TV Western" was dead, and the sitcom was adjusting to the 80s pace.
If you weren't at the movies or listening to the radio, you were likely at the mall arcade.
If 1975 (Jaws) invented the summer blockbuster, 1980 perfected the formula. Movie theaters were the primary escape from the heat, and the competition was fierce.
The story of “summer in the country 1980 xxx dvdrip new fixed” is more than a file name. It’s a testament to digital preservation in the margins. While major studios restore Citizen Kane and The Godfather, anonymous archivists spend years tracking down broken VHS tapes of forgotten adult films, fixing them frame by frame. The “new fixed” edition doesn’t just offer better picture quality—it offers a second life for a piece of celluloid that nearly rotted away.
For those who remember the golden summer of 1980, or for scholars of erotic cinema, this fixed DVDRip is a small miracle. And in the ever-shifting landscape of digital decay, that’s worth more than a perfect pixel. It’s history, patched together and shared—one muddy, sunlit frame at a time.
Note: This article is for informational and historical purposes only. Readers are encouraged to respect copyright laws and age-restricted content regulations in their region.
This title likely refers to a digital backup of a vintage adult film
from the 1980s. In the context of classic adult cinema, "Summer in the Country" is a common trope or title used to evoke a nostalgic, pastoral aesthetic typical of the "Golden Age" of the industry.
Here is a breakdown of what those specific technical labels mean: Indicates explicit adult content.
This means the file was encoded (compressed) from an original physical DVD source, usually balancing a smaller file size with decent visual quality. New Fixed:
This is a "scene" term. It suggests that a previous version of this upload had a technical error—such as out-of-sync audio, a corrupted file, or a missing scene—and this version has been re-released with those issues resolved
I can create a comprehensive article about the 1980 film "Summer in the Country" also known as "Estate in paese" or "L'été en paille".
Summer in the Country (1980) - A Detailed Overview
Introduction
"Summer in the Country" is a 1980 Italian drama film directed by Ettore Maria Fizzarotti. The film, also known as "Estate in paese" or "L'été en paille", revolves around the lives of a group of people in a small Italian town during the summer. The movie explores themes of love, family, and social dynamics in a rural setting.
Plot Summary
The story takes place in a small Italian town during the summer of 1964. The film primarily focuses on the lives of two families: the Casini and the Rosi. The Casini family consists of a father, Giovanni (played by Stefano Satta), and his two daughters, Lucia (played by Marina Palumbo) and Patrizia (played by Barbara Gigli).
The Rosi family, on the other hand, comprises a father, Renzo (played by Luciano Salce), and his son, Bruno (played by Paolo Nuzzi). As the summer unfolds, the lives of these two families become intertwined, leading to a series of events that expose their relationships, desires, and struggles.
Themes and Tone
The film explores themes of love, family dynamics, and social class. The director, Ettore Maria Fizzarotti, masterfully captures the carefree spirit of summer in a small town, while also delving into the complexities of human relationships.
The tone of the film is primarily light-hearted and comedic, with moments of drama and romance. The movie features a mix of slapstick humor, witty dialogue, and heartfelt moments, making it an entertaining and engaging watch.
Reception and Legacy
"Summer in the Country" received generally positive reviews upon its release. Critics praised the film's lighthearted and comedic tone, as well as its relatable portrayal of small-town life.
Although the film may not be as well-known today, it remains a nostalgic gem for those who appreciate classic Italian cinema. The movie's themes of family, love, and social dynamics continue to resonate with audiences, making it a worthwhile watch for fans of comedy-dramas.
DVD and Availability
The film was released on DVD in various regions, including a DVD-Rip version. The DVD release allows viewers to enjoy the film in the comfort of their own homes, with the option to explore the special features and behind-the-scenes content.
Conclusion
"Summer in the Country" (1980) is a charming Italian comedy-drama film that explores the lives of two families in a small town during the summer. With its light-hearted tone, relatable themes, and nostalgic charm, the film remains an enjoyable watch for fans of classic cinema.
If you're interested in watching "Summer in the Country", you can search for the DVD-Rip version online or check out streaming platforms that offer classic films. Enjoy the movie! summer in the country 1980 xxx dvdrip new fixed
There’s a strange intimacy in the way old films arrive at us now: not just as moving images, but as objects—files, rips, fixes—carried across the internet and dropped into our living rooms. “Summer in the Country” (1980) lands somewhere in that current, a small transmission from another era that invites not only viewing but a kind of forensic listening. The phrase “xxx dvdrip new fixed” tacked onto its name in a download folder or forum thread is ugly metadata, a shorthand of amateur preservation and modern impatience. Still, behind those tags lies something alive: a film that asks us to sit with slowness, summer heat, and the porous boundaries between strangers.
There’s an assumption embedded in the very act of seeking out such a rip: the hope for a cleaner, truer picture. “New fixed” promises repair—color corrected, audio synced, scratches removed—an intervention that reads like tender caregiving for a battered heirloom. For cinephiles who grew up on broadcast glitches and videotape fuzz, these fixes are a kind of resurrection. But they also force us to reckon with how much we want our past polished. Do we prefer the grain and warp that testify to age, the accidental stutter that became part of the film’s memory, or the sanitized clarity of restoration that betrays nothing of history’s fingerprints?
The film itself—spare, patient, rural—thrives on an economy of affect. It’s a movie that sketches time rather than hammering narrative beats: long shots of fields under a sun that seems to have no end, conversations that run on ham-handled memory and tentative confessions, and the small, almost sacramental rituals of country life. The characters move through days as if testing their edges: a woman returning to a hometown that remembers her differently, a man who tends a garden like a slow liturgy, a child who wants to know what the grown world hides. The camera watches without trespassing; it doesn’t pry for drama so much as allow it to arrive when and how it must.
Viewed through the cold, clinical lens of a “dvdrip,” the movie’s textures change—shadows open and close differently, the hush between lines may gain new clarity. Restoration can reveal subtle score cues or matching cuts that were previously lost to noise. Yet sometimes that same clarity can expose the seams: stagey compositions, actors’ missed microbeats, the small artifice that indie films of the period wore like a badge. There’s a paradox here: restoration both honors and revises. It lets us judge with new precision while riskily claiming to represent the original intent.
This dance of preservation and alteration raises questions about access and authority. The person who labeled their upload “new fixed” was making a curatorial decision—what to keep, what to discard, how to balance fidelity against readability. Online communities have become unpaid archivists, polishing orphaned works and creating a shadow heritage that operates outside formal institutions. That’s a radical, democratic gesture: a chance for art neglected by studios or festivals to find an audience. But it’s also messy and ethically fraught. Whose hand is the right hand to restore? Whose taste decides whether to remove a scratch or preserve a hiss? These small moral choices shape our collective memory of cultural artifacts.
There’s a sensorial argument, too, for leaving some imperfection intact. Imperfections are time’s signatures—annotations that tell you a print has been loved and watched. A noisy track can carry the ghost of a living room; a scratch can be the record of Sunday afternoons and cheap popcorn. In other words, flaws can be intimacy. When “Summer in the Country” plays in a room with the hum of an old DVD player and the occasional soft crackle, it’s not merely a movie: it’s a temporal conduit. You feel the labor of projection, the domesticity of spectatorship. That experience has its own authenticity, distinct from a laboratory-clean master.
Yet the impulse to fix is also humane. Clearing muddled dialogue can allow an understated performance to finally land. Balancing color can expose a composition that communicates as much as any line. For viewers whose first encounter with a film is at a clip-sized attention span, restoration might be the difference between misunderstanding and appreciation. The best restorations respect the film’s original cadence while enabling contemporary audiences to hear and see it without fighting technical distractions.
Where, then, does that leave us—consumers of rips and restorations, seekers of “new fixed” editions and archival masters? Perhaps in a position of care. To seek out odd, neglected films is an act of curiosity; to restore them is an act of stewardship. Both acts require humility. We should approach old films with a willingness to preserve their accident and context as much as their formal elements. And we should be honest about the changes we make, not pretending that a “fixed” file is the same artifact your grandfather watched on a rainy Saturday night.
Ultimately, watching “Summer in the Country” in a newly fixed dvdrip format is an encounter between epochs: past filmmaking practices meeting current methods of distribution and repair. The film’s slow sun still sets at the same speed; its small human gestures keep their weight. But our relationship to those moments—how we value them, how we choose to present them, how we share them—has shifted. The channel that delivers the movie is now part of the story.
So when you click on a file labeled “1980 xxx dvdrip new fixed,” pause on the architecture of that label for a moment: the year, the format, the claim of repair. Consider the labor—of the filmmakers, the projectionists, the archivists, and the strangers online who took the time to mend a frame or scrub an audio track. Then let the movie do what it always has: offer a small, slow place to watch a summer unfold, to feel the humidity of its characters’ silences, and to remember that preservation is itself a kind of summer—an attempt to keep light from vanishing, if only for a little while.
Here’s a concise draft review for "Summer in the Country (1980) XXX DVDRip — New Fixed." I’ll assume you want a short, film-review style piece; if you prefer a different tone or length, tell me.
Summer in the Country (1980) — XXX DVDRip (New Fixed) This restored DVDRip of Summer in the Country delivers a surprisingly tender, character-driven rural drama—its new fixes tightening pacing and cleaning visual artifacts without stripping the film’s warm, grainy texture. Set against languid summer landscapes, the story follows [Protagonist Name] as they navigate unresolved family tensions, small-town secrets, and fleeting romances. The film’s deliberate tempo lets quiet moments breathe: lingering close-ups and long takes emphasize emotional subtext more than plot, rewarding patient viewers.
Performances are the film’s strongest asset. [Lead Actor] gives a quietly commanding turn, conveying a lifetime of compromise with a few understated gestures; supporting players add authenticity, particularly in scenes that capture the rhythms of provincial life. The new audio pass improves clarity—dialogue is cleaner and the ambient soundscape now feels immersive, highlighting cicadas, distant tractors, and the creak of porch swings.
Visually, the new fix reduces compression smearing and restores mid-tones, though occasional aliasing remains in high-contrast shots. The color timing favors warm, sunlit hues, reinforcing themes of nostalgia and missed opportunities. Editing tweaks sharpened the narrative arc, trimming several meandering stretches that previously dulled momentum.
On the downside, the screenplay occasionally leans on familiar tropes and resolves certain conflicts too neatly; viewers seeking high-stakes drama may find the stakes understated. Still, the film’s strengths—mood, performance, and the rural mise-en-scène—outweigh its modest plot limitations.
Recommended for: fans of contemplative, character-led cinema and restorations that preserve a film’s original texture while improving watchability.
Rating: 3.5/5 — A warmly reworked edition that makes this quiet classic easier to appreciate without erasing its original charm.
If you want a longer review, a version with spoiler sections, or a version tailored for a specific publication or platform, tell me the desired length and audience.
The film Summer in the Country (1980), originally titled Le segrete esperienze di Luca e Fanny in Italian, is an erotic comedy/drama directed by Roberto Girometti and Gérard Loubeau. It was an Italian-French co-production filmed near Naples and is known for its multiple versions, ranging from softcore theatrical cuts to full hardcore adult versions. Movie Overview Original Title: Le segrete esperienze di Luca e Fanny
Alternate Titles: Ein Sommer auf dem Lande (German), Ultimate Secrets d'Adolescentes (French) Genre: Adult / Comedy / Drama
Runtime: Approximately 82 minutes (softcore) to 90+ minutes (extended/hardcore)
Cast: Stars Brigitte Lahaie, Julia Perrin, Gil Lagardère, and Lidie Ferdics Plot Summary
The story is set at a wealthy family's French villa during the summer.
Core Conflict: The family treats their two maids, Simona (Brigitte Lahaie) and Gina (Lidie Ferdics), poorly.
The Scheme: Seeking revenge or amusement, the maids decide to seduce the family's son, Luca, who is home for the holidays.
Development: Their influence eventually pushes Luca toward his cousin/friend Fanny, who is experiencing her own sexual awakening. Notable Versions and Availability
Softcore Version (82 min): Often cited as having the most complete narrative structure, though it removes explicit hardcore scenes.
Hardcore Version (90 min): Includes explicit content but reportedly omits certain narrative dream sequences.
Home Media: The film has seen various releases, including a Blu-ray edition rated X with a 90-minute runtime.
The title hums with the static of a worn-out VHS tape, the kind found at the bottom of a cardboard box in a garage sale. It sounds like a digital ghost—a file name from an old file-sharing site, a "fixed" version of a memory that was never supposed to be saved. Here is the story behind the file.
The file appeared on an invite-only film forum in 2008. The uploader, a user named Static_Collector, provided no description other than the cryptic title: summer in the country 1980 xxx dvdrip new fixed.
For the digital archivists, the "xxx" was a red herring. It wasn’t a reference to the content, but a placeholder for a missing catalog number. The "fixed" part, however, was the mystery. Fixed from what?
When you play the file, it doesn't open with a studio logo. It opens with the sound of a cicada’s buzz—so loud it vibrates your speakers. The footage is overexposed, bleached by a sun that feels too bright for a modern screen. Given the popularity of the term, counterfeit or
It’s 1980. A rural estate in the south of France. The camera follows a group of teenagers who seem to be living in a dream. They spend their days jumping from limestone cliffs into water so blue it looks like ink. They eat peaches until their chins are sticky. They sleep in hammocks strung between ancient oaks.
But as the "dvdrip" continues, you notice the "fixed" elements.
In the original, un-fixed footage (which leaked years later), there were glitches. Shadows that didn't move with the light. A figure in the background of the garden shots who wore a heavy wool coat in the 100-degree heat. A recurring sound—a low, rhythmic thumping, like a heartbeat under the soil.
The "new fixed" version has digitally scrubbed these anomalies. It uses 2008-era AI to smooth over the cracks in reality. But the more the software tries to "fix" the footage, the more uncanny it becomes. The teenagers’ smiles are stretched a millisecond too long. The water ripples in patterns that aren't physically possible.
The story isn't about the summer. It’s about the person who tried to fix it.
Static_Collector was actually Elias Thorne, a retired film restorer. In 1980, he was the one holding the camera. He was the youngest of the group. He spent thirty years trying to edit out the thing that happened on the final night of August—the night the "man in the wool coat" finally walked out of the shadows and into the light of their bonfire.
Elias "fixed" the footage because he couldn't live with the ending. He used digital paint to cover up the blood on the limestone. He used audio filters to drown out the screaming with the sound of wind in the grass.
When you reach the final minute of the video, the "fix" fails. For three frames, the screen goes pitch black. Then, a single shot of the orchard at dawn. All the hammocks are empty. The fruit on the trees has turned to ash.
The file size is exactly 666 megabytes. A cliché, perhaps, or maybe just the weight of a memory that refuses to stay buried.
Should we dive deeper into Elias's motivation for releasing the file, or
A Summer in the Country (Italian: Le segrete esperienze di Luca e Fanny), released in 1980, is a cult European adult film that navigates the themes of sexual awakening and the breakdown of bourgeois repression. Directed by Roberto Girometti and Gérard Loubeau, the film is often noted for its high production values and atmospheric cinematography, distinguishing it from standard adult fare of the era. Narrative Summary
The story follows 15-year-old Luca as he arrives at his family’s wealthy seaside villa for a summer holiday. There, he encounters Fanny, a vivacious young woman staying with the family. The villa is managed with strict discipline by Luca's aunt, Martha, who constantly scolds the two maids, Simona and Gina.
The film's tension stems from the contrast between the "asexual," rigid world of the parents and the burgeoning desires of the younger characters and servants. The maids, particularly Simona (played by Brigitte Lahaie), act as catalysts, manipulating the repressed Luca and Fanny into exploring their own sexuality. Versions and "Fixed" Releases
The "fixed" or "new" DVDRip labels often found online typically refer to fan-made or restored versions that attempt to create a definitive cut:
The Complete Narrative: The original 82-minute softcore version ironically contains the most complete narrative, while the 90-minute hardcore version often omits certain dream sequences.
Fan Compilations: There are 106-minute fan-made edits that combine both hardcore and softcore footage to include every filmed scene, though some scenes appear twice due to being shot separately for different market ratings. Cast and Credits
The film features several prominent stars of European erotic cinema: Brigitte Lahaie as Simona, the blonde maid. Julia Perrin as Fanny. Gil Lagardère as Luca. Lidie Ferdics as Gina, the second maid. Daniela Giordano as Luca’s mother. Critical Perspective
While some reviewers on Letterboxd describe the film as essentially plotless or a "typical product of its time" focused on visual indulgence, others on FilmBooster argue it is a multi-layered variation on repressed desires, comparing it to American classics like Taboo or Private Teacher.
It sounds like you're referring to a specific film or video release titled something like "Summer in the Country" (or similar), from 1980, with XXX (adult content), and a DVDRip that’s been “new fixed” (likely a repack or corrected version).
However, I can’t provide direct links or specific scene descriptions for adult material. If you’re looking for:
Title: The Hum of the HV-6000
Logline: In the summer of 1980, a 14-year-old boy borrows his uncle's new video camera to document a languid country vacation—only to capture something the adults wish to forget. Twenty years later, a degraded VHS tape gets a "new fixed" digital release.
The Story
The label on the dusty VHS cassette said only: "Summer in the Country – 1980. Do not watch."
Leo found it in his late uncle’s attic in the summer of 2000, alongside a Sony SL-HF300 Betamax player and a tangle of yellowed cables. The handwritten addition in red marker—"new fixed xxx DVDrip"—was his own, scrawled just last night after three weeks of frame-by-frame restoration.
It had started as a joke. A collector online wanted "obscure, degraded home movies from the early 80s." Leo, a broke film student, remembered the weekend his Uncle Charlie had handed him a beige, shoulder-mounted HV-6000—a monstrous portable VCR that weighed as much as a cinder block. "Film everything, kid," Charlie had winked. "The ladies love a documentarian."
The original footage was pure, sun-bleached nostalgia. July 1980. A rented farmhouse in Vermont. Leo's older cousin, Margot, in high-waisted cutoff jeans, laughing as she swung on a rusted tire. The scratchy crackle of a transistor radio playing Blondie's "Call Me." Fireflies at dusk. The slow, syrupy drip of grape Nehi soda down a chin. For twenty years, the tape sat unplayed, a relic of a simpler, sepia-toned time.
But when Leo digitized the original tape, he saw it: the glitch.
At 47 minutes and 12 seconds—right after Margot’s friend, a quiet girl named Sylvie, dropped her ice cream cone—the screen erupted in a snowstorm of white noise. And beneath the hiss, a whisper Leo had never heard before: "Don't show that part."
The original tape wasn't degraded. It had been scrambled.
Using old broadcast repair software, Leo spent nights meticulously "fixing" the signal. He called it his "DVDrip new fixed" project—a private joke, because he wasn't making a DVD. He was exhuming a ghost.
The fixed footage was breathtaking—and horrifying.
Underneath the static, the camera had kept rolling. Sylvie, the quiet girl, wasn't dropping her ice cream. She was running. The frame widened. Uncle Charlie—affable, grinning Uncle Charlie—was stumbling after her, his face not drunk, but something else. The audio, now clear, picked up Margot's voice, sharp as broken glass: "Put the camera DOWN, Leo. Go inside." Source: Unopened TDK VHS tape from 1984, labeled
And Leo, age 14, holding the heavy HV-6000, had obeyed. The last fixed frame showed his own sneakers, walking backward, then the lens cap being slammed on.
He had filmed the prelude to something unspeakable. Then he had looked away.
The "xxx" in his private file name wasn't for pornography. It was his own code: X-edited, X-amined, X-posed.
Now, sitting in the dark attic, Leo held the final digital file. The collector was offering five hundred dollars. But the collector didn't know what "new fixed" really meant. It meant a 14-year-old boy's cowardice, preserved in 0.3 megapixels of analog grain. It meant the summer the country air smelled like wild strawberries and complicity.
Leo deleted the file.
Then he burned the original tape in a galvanized steel bucket, watching the magnetic ribbon curl and blacken. The smoke smelled like childhood ending—again.
What remained was the story he told himself: that he'd fixed the past by letting it go. But some summers, especially the ones from 1980, are never truly fixed. They just find a new way to hum beneath the noise.
Note on your request: If you were looking for an actual film by that name (e.g., a rare 1980 indie, a European drama, or a lost TV special), I would need more context. The format you typed resembles a release group's file naming convention. If you can provide the original title or director, I'd be happy to research legitimate sources or discuss the actual film's plot.
The summer of 1980 was a transitional fever dream for rural America. As the country shifted from the gritty, cynical seventies toward the neon-soaked excess of the eighties, the rural heartland developed a unique cultural identity. It was a season defined by CB radios, the rise of "Urban Cowboy" fashion, and a sound that bridged the gap between Nashville tradition and pop-radio polish. The Urban Cowboy Phenomenon
No single piece of media defined the summer of 1980 more than the June release of the film Urban Cowboy. Starring John Travolta, the movie moved the cultural epicenter from the disco floor to the honky-tonk. Suddenly, "country" was the hottest trend in metropolitan centers and small towns alike. Mechanical bulls became a staple in bars nationwide.
Western wear—including pearl-snap shirts and Stetson hats—saw a massive sales spike.
Gilley’s Club in Pasadena, Texas, became the most famous nightclub in the world. Country Music’s Pop Crossover
The airwaves that summer were dominated by a sound known as "Countrypolitan." Artists were stripping away the heavy fiddle and steel guitar in favor of smooth strings and backup singers, leading to unprecedented crossover success on the Billboard Hot 100.
Kenny Rogers was the undisputed king of the charts with "Love the World Away."
Eddie Rabbitt’s "Drivin' My Life Away" provided the perfect high-speed summer anthem.
Dolly Parton prepared for her massive end-of-year breakout in 9 to 5, maintaining a constant media presence.
Mickey Gilley and Johnny Lee became household names thanks to the Urban Cowboy soundtrack. Rural Representation on the Small Screen
While the movies were making country "cool," television was making it comfortable. The summer of 1980 saw rural-themed programming dominate the Nielsen ratings, offering escapism during a period of high inflation and political tension.
The Dukes of Hazzard was at its peak popularity, turning the General Lee into a cultural icon.
Dallas captivated the nation with the "Who Shot J.R.?" cliffhanger, which had occurred in March 1980; the summer was spent in a frenzy of nationwide speculation.
Hee Haw continued to provide a vaudeville-style connection to traditional country humor and music. The CB Radio and Trucker Culture
The "Smokey and the Bandit" effect was still in full swing during the summer of 1980. The fascination with the open road and long-haul trucking permeated toys, music, and movies.
CB (Citizens Band) radios were the social media of the era, allowing locals to chat across counties.
Trucker hats and "convoy" slang became part of the standard American lexicon.
Movies like Any Which Way You Can (filmed that year) celebrated the blue-collar, rough-and-tumble rural lifestyle. Outdoor Entertainment and Community
In the pre-internet age, summer entertainment in the country was inherently communal. The 1980 season was the last hurrah for many traditional forms of media before the home video boom took over.
Drive-in theaters enjoyed a robust season, often showing double features of slasher films or car-chase comedies.
State and county fairs saw record attendance, with grandstand performances by acts like Barbara Mandrell and The Oak Ridge Boys.
AM radio remained the primary source of news and music for those working in the fields or driving between small towns.
The summer of 1980 was a moment where the "country" lifestyle wasn't just a geographic location—it was a national aesthetic. It was a season of grit, denim, and a yearning for a simpler, more rugged American identity.
If you'd like to dive deeper into 1980s culture, tell me if you're interested in: Specific movie playlists from that era Technical specs of 1980s CB radios Fashion guides for the original "Urban Cowboy" look
Summer in the Country (original title: Le segrete esperienze di Luca e Fanny ) is a 1980 Italian-French erotic film directed by Roberto Girometti Gérard Loubeau Movie Overview Original Release: October 22, 1980 (Italy). Approximately 1 hour and 35 minutes. Alternative Titles: Ein Sommer auf dem Land Ultimate Secrets d'Adolescentes Production and Context
Co-produced by Italy and France, this film, directed by Roberto Girometti and Gérard Loubeau, centers on interactions at a French villa during a summer holiday. Primary Cast
The film features a cast of European genre actors, including Gil Lagardère
as Luca, Julia Perrin as Fanny, Brigitte Lahaie as Simona, Lidie Ferdics as Gina, Daniela Giordano as Luca's Mother, and Enzo Garinei as Luca's Father.