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The Cook, the Thief, His Wife & Her Lover (1989)
When churlish mobster Albert Spica acquires an upscale French restaurant in London, he dines there nightly, effectively scaring off the clientele with his bad manners. His wife, Georgina, is especially disgusted by him, and soon begins an affair with regular guest Michael. Despite their best efforts to keep it secret, Spica learns about their trysts, and he plots a terrible revenge.
When churlish mobster Albert Spica acquires an upscale French restaurant in London, he dines there nightly, effectively scaring off the clientele with his bad manners. His wife, Georgina, is especially disgusted by him, and soon begins an affair with regular guest Michael. Despite their best efforts to keep it secret, Spica learns about their trysts, and he plots a terrible revenge.
The film explicitly critiques unchecked, vulgar power and class exploitation through the grotesque character of the thief, culminating in a radical act of revenge by the oppressed, which aligns with a clearly left-leaning perspective on systemic injustice and revolutionary subversion.
The film features primarily traditional casting without intentional race or gender swaps. However, its narrative strongly critiques a central white, male character, portraying him as a monstrous villain who embodies toxic masculinity and unchecked power, making this critique central to the story.
The film features Michael, a bisexual/gay character, whose same-sex relationship is briefly and incidentally depicted. This aspect of his identity is presented without explicit judgment or affirmation, and his ultimate fate is unconnected to his sexual orientation, making the overall portrayal neutral.
The film 'The Cook, the Thief, His Wife & Her Lover' does not include any identifiable transsexual characters or themes. Its narrative focuses on other social and psychological dynamics, rendering the question of transsexual portrayal inapplicable.
The movie does not contain any action or adventure elements.
This film is an original screenplay by Peter Greenaway, not an adaptation of existing material or a biopic. All characters were created for this specific film, meaning there are no prior canonical or historical gender baselines to compare against. Therefore, no gender swaps occur.
This film is an original work with characters created specifically for it, not an adaptation of existing material or a biopic. Therefore, no characters have a pre-established race from prior canon or history to be altered.
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