Lack of good storyline.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

Worth seeing just to witness how winsome it is.

Nicely executed soap opera of middle-aged architect Marcello Mastroianni loving the criminally gorgeous seventeen-year-old Nastassja Kinski before ultimately breaking up. Of course, nothing in life is simple. Years ago, Mastroianni had an affair with Kinski's mother and the possibility exists that she is his real daughter. Oh, to hold thee lightly on a gentle knee and print on thy soft cheek a parent's kiss! But Incest be damned. Instead, he spends one night making savage love to her before they both realize this May-December business renders it all pointless.The direction is functional. Alberto Lattuada has one artistic shot of two bright orange rowing shells emerging from under a dull stone bridge and forming striking geometric patterns, but then he goes and ruins it with clichés. Mastroianni is wandering with a camera around one of Florence's tourist spots. The movie camera pans around until it fixes on some feature of the landscape -- some swans, a statue in a ruined state -- then we hear a camera shutter click and the picture freezes. This happens half a dozen repetitive times for reasons known only to the director, or maybe nobody at all. At a horse race, the animals pound along in slow motion. Ho hum. The musical score is mostly electronic, or tinny violins, and is more irritating than constructive.The best part of the film comes from the two principals. Of Kinski it must be said that her features and figure are almost too flawless. There isn't a single angle that doesn't flatter her and make her look desirable in the most sensual way. The curious thing is that -- well, there is a photo of her in the arms of her compellingly ugly father, Klaus, in which she can't be more than a few years old. She stares at the camera with a dark gaze that's already arresting. Now she's middle aged and STILL looks like the perfectly featured middle-aged woman! Dancing around the flat in the nude, she makes Mastroianni bite her plump rear cheek. Okay. One or two nude scenes resembling soft-core porn. But she is, after all, just a wanton kid at heart. She plays disgusting tricks on Mastroianni and nags him to take her to night clubs when all the poor guy wants to do is sleep.Mastroianni is fiftyish and his age shows. He's no longer the lost young journalist of "La Dolce Vita" but he's still handsome. I can forgive him his handsomeness because he's so superior at projecting emotions that we ordinary men can identify with -- doubt, pathos, guilt. The merest of Mastroianni's resigned shrugs gets the job done. Cary Grant was handsome too, but he won me over with his ability to show bemusement and mock indignation.Unfortunately, the film is dubbed, and not well. Mastroianni is given the mellifluous baritone of a radio actor or the guy who does voiceovers in TV commercials. Kinski has the breathless piping voice of an adolescent and it sounds like whoever did her dubbing had a difficult time with it because the effort shows. Better if Kinski had dubbed herself. Hers has a distinctive deep nasal quality that we've all learned to associate with her appearance on screen.

A middle-age man (Marcello Mastroanni) trapped in a loveless marriage with a cold, shrewish wife and pregnant teenage daughter meets a young university student (Natassia Kinski)who reminds him of a lover he had twenty years earlier. Turns out there's a good reason for this--she is the daughter of his now dead lover. The problem is, since her paternity is very uncertain, she might be his own daughter as well! Thus you have the hilarious spectacle of Mastroanni trying to unsuccessfully resist a very ripe and beautiful Kinski.This is the kind of movie that would have been crass and tasteless if made in America, but being set in Europe is merely quaint and corny (mostly due to the English dubbing). It resembles other European films like "Appassionata" and "Beau Pere", but might be a little more palatable since the man is at best only biologically the girl's father and the girl (and more importantly the actress playing her) is at least not an underage Lolita. It also resembles a lighter-toned "Last Tango in Paris" in that it has a lot of strange sex scenes, some of which might be pretty erotic (Mastroanni biting Kinski's beauteous bare rump) while others are pretty silly (Kinski serving Mastroanni a cup of her "pee-pee").Most people then and now will probably see this film for Kinski's copious nude scenes. Keep in mind though they are not very well-paced--she spends the first half of the movie dressed and the second half almost perpetually naked. To tide you over though you also have the beautiful Ana Peironi (the "Mother of Tears" in Dario Argento's "Inferno", who really does make one want to cry) playing Kinski's promiscuous roommate. She has one of the funniest scenes where she strips off all her clothes in front of Mastroanni seconds after meeting him, all the while casually telling him how she doesn't like to sleep at the train station because of all "the horny men". (Well, no wonder!). Not for all tastes perhaps, but definitely recommended to fans of "Eurotica".

"Stay As You Are" deals with a man who is attracted to a young girl, who finds out that she is the daughter of a prior lover (now dead), and that he might be her father (we never find out either way). When Francesca finds out she might be her daughter, it doesn't phase her. The man who has raised her, she looks in a father-daughter way. Giulio, she looks as a lover. The fact that he might be her father has no bearing on her.Likewise, although Giulio has sex with Francesca, knowing that she might be his daughter, around the the girl he has raised, he respects the incest taboo. In no way is he sexually interested in his own daughter. Francesca just walks into his life, then he learns that he might be her father."Time" magazine said all love stories have something keeping the lovers apart. Parents, class, money, etc. In this case, I don't think it was the incest taboo. Just that Francesca cannot see herself living with Giulio. I think he she had seen them as living together forever, she would have worked on it, taboo or no taboo.

I saw this movie a few years ago and have forgotten most of it. However, there was a scene that stuck out and has haunted me ever since. The scene where the girl pees in a cup and makes tricks the man into drinking it. She thinks this is really funny and makes him bite her butt. Yeah, that is one of the oddest sex scenes I have ever seen and it's the only thing I remember about this movie.