Desire: Complete Plot Narrative

The film opens with an air of carefully constructed anticipation, beginning on the day of Lucía's wedding at her family's lavish beach estate, a sprawling architectural marvel perched on the cliffs that Carmen, the sisters' mother, has named "The Dreamer." Lucía stands at the threshold of what she believes will be her perfect life--she is marrying Juan, the man she has loved and lived with for four years, a partnership built on stability, commitment, and what appears to be genuine affection. Yet beneath the surface of this celebration, there exists a fracture in the family that has been widening for seven long years: the estrangement between Lucía and her younger sister, Ofelia.

Carmen, ever the optimistic matriarch, has made a decision that will unravel everything. Despite the obvious tension between her daughters, despite their seven years of silence and separation, she has invited Ofelia to the wedding. Carmen harbors a fragile hope that perhaps this occasion--the marriage of her firstborn--might serve as the catalyst for reconciliation, that the sisters might finally bridge the chasm that has grown between them. What Carmen fails to understand, or perhaps refuses to acknowledge, is that some distances cannot be closed by proximity alone, and some rivalries are rooted in something far deeper than mere circumstance.

Ofelia arrives at the wedding with her own partner, Andrés, a Brazilian man with whom she has built a life in radical isolation deep within the Amazon forest. The contrast between the sisters could not be more pronounced. Lucía has chosen the path of civilization, of social success, of territorial control and careful management of her world. She is strong-willed, powerful in her presence, commanding in her demeanor. Ofelia, by contrast, has returned from the jungle transformed--calmer in some ways, yet wilder, more primitive, more dangerous. She carries with her the freedom of someone who has lived outside the constraints of conventional society, someone who has learned to explore her sexuality without the shame and repression that has bound her sister.

The wedding ceremony proceeds, and for a brief moment, it seems as though Carmen's optimism might be justified. But then comes the moment that will alter the trajectory of everything: Juan encounters Ofelia in his bedroom at the family estate. She emerges from the pool, naked and shivering, having jumped into the water in a moment of uninhibited spontaneity. When their eyes meet, something ignites between them--a spark of recognition, a flash of desire so immediate and so powerful that it feels almost supernatural, as though, in the words of the film's own description, "a disruptive fantasy has enchanted their minds and bodies."

Juan is instantly enamored with his sister-in-law. The attraction is not merely physical; it carries with it an almost magnetic quality, as though Ofelia represents something he has been unconsciously seeking--a wildness, a freedom, a sensuality that exists in sharp contrast to the controlled, measured world he has built with Lucía. For Ofelia, too, there is an immediate recognition. She sees in Juan something that calls to her, something that awakens desires she may have thought she had left behind in the civilized world.

As the wedding festivities continue, tensions begin to simmer beneath the surface. Lucía, enraged that her mother has invited Ofelia despite their estrangement, finds herself increasingly critical and hostile. When she observes Andrés behaving in what she perceives as a boorish manner at her wedding, she seizes upon it as an opportunity to demean both her sister and her sister's partner. The competition between the sisters, dormant for seven years, suddenly reawakens with a vengeance.

The situation escalates dramatically when Carmen, in a moment of pharmaceutical-induced recklessness, consumes LSD and subsequently loses her footing near the pool. She tumbles into the water, and in that instant, both Lucía and Ofelia react with a desperate urgency that reveals the true nature of their rivalry. Each sister plunges into the pool after their mother, not out of pure concern for her safety, but out of a primal need to outdo the other, to prove herself the superior daughter, the one most worthy of Carmen's love and attention. It is a moment that crystallizes the fundamental dynamic of their relationship: everything between them is a competition, a battle for dominance and validation.

As the days pass following the wedding ceremony, the tension within the household becomes increasingly unbearable. Lucía and Ofelia's bitter competition escalates in ways both subtle and overt, each sister finding new ways to assert her superiority, to claim territory, to demonstrate her worth. The presence of their respective partners--Juan and Andrés--only intensifies the dynamic, as both men become unwitting pawns in a game far larger than themselves.

The truth that begins to emerge, slowly at first and then with undeniable clarity, is that Lucía has always desired her sister in ways that go beyond the normal bounds of sibling affection. For years, she has been voyeuristic, watching Ofelia, studying her, learning from her, positioning herself as both disciple and observer of her sister's uninhibited sexuality. Lucía has lived vicariously through Ofelia's freedom, even as she resented it, even as she judged it. This complex web of desire, envy, and fascination has shaped the entire trajectory of their relationship.

Now, with Ofelia physically present in the house, with Juan's attraction to her becoming increasingly obvious, Lucía finds herself confronted with the reality of her own desires and the impossibility of controlling them. She cannot control her husband's attraction to her sister. She cannot control the way Juan's eyes follow Ofelia when she moves through the rooms of the house. She cannot control the fact that she, too, feels the pull of her sister's magnetism, the same magnetism that has always drawn her to Ofelia, the same force that has kept her imprisoned in a cycle of desire and resentment.

As the shared honeymoon unfolds within the walls of "The Dreamer" house, the sexual dynamics of the household become increasingly complex and fraught. Sex, which should be an expression of love and commitment, becomes instead an escape, a discharge, an exorcism. When Ofelia and Andrés come together, it is charged with a desperate energy, as though they are trying to reclaim something, to reassert their bond against the encroaching chaos. When Lucía and Juan make love, it carries within it an undercurrent of anxiety and uncertainty, as though Lucía is trying to hold onto something that is slipping through her fingers.

The film does not shy away from depicting these sexual encounters in explicit detail. The camera lingers on bodies, on moments of vulnerability and passion, on the raw physicality of desire. Yet beneath the eroticism lies a profound sadness, a recognition that these acts of intimacy are being performed not out of genuine connection but out of desperation, out of a need to assert control or reclaim territory or simply to escape the unbearable tension that permeates every interaction.

The central confrontation that drives the film toward its climax is the unavoidable acknowledgment that both Lucía and Ofelia are condemned to desire the same man. Juan has become the focal point of their rivalry, the object around which all their complex emotions--love, hate, envy, fascination--revolve. The sisters find themselves trapped in a psychological and emotional prison of their own making, unable to escape the gravitational pull of their mutual obsession.

Lucía, who has always prided herself on her strength and her territorial control, discovers that these qualities are powerless against the force of desire. She cannot will Juan to stop looking at Ofelia. She cannot command her own heart to stop questioning whether her marriage is built on genuine passion or merely on convenience and habit. She cannot prevent herself from seeing, in her sister's freedom and sensuality, everything she has denied herself in pursuit of respectability and control.

Ofelia, for her part, finds herself caught between her attraction to Juan and her commitment to Andrés, between the pull of her sister's world and the life she has built in the Amazon. She recognizes that by allowing herself to be the object of Juan's desire, by reciprocating his attraction, she is participating in the destruction of her sister's marriage and the destabilization of her own relationship. Yet she cannot seem to stop herself. The desire is too powerful, too consuming, too much a part of who she is.

The film builds toward a climax that is less about external action and more about the internal implosion of the household. There are no deaths, no dramatic acts of violence, no conventional dramatic resolutions. Instead, the climax is psychological and emotional--it is the moment when all the characters are forced to confront the reality of their desires and the impossibility of satisfying them without causing irreparable harm.

The confrontations that occur are primarily between the sisters, though they ripple outward to affect both Juan and Andrés. Lucía and Ofelia face each other with the accumulated weight of seven years of estrangement, of unspoken resentments, of complex and contradictory feelings. They confront the truth that their rivalry is not really about Juan at all--or rather, it is about Juan only insofar as he represents something larger: the fundamental incompatibility of their natures, the impossibility of their coexistence without conflict, the way in which their desires will always be at odds.

The ending of the film does not provide the catharsis of resolution. There is no moment in which the sisters reconcile, no scene in which they come to understand each other and move forward together. Instead, the film ends on a note of unresolved tension, emphasizing the cyclical nature of desire, jealousy, and familial rivalry. The sisters remain imprisoned in their mutual obsession, trapped in a dynamic that they cannot escape because it is rooted in something fundamental about who they are.

The final scenes underscore the entrapment of all the characters. Lucía remains in her marriage to Juan, but it is a marriage now shadowed by doubt and suspicion. Juan continues to desire Ofelia, but he cannot act on that desire without destroying everything he has built. Ofelia remains with Andrés, but their relationship is now fractured by her attraction to her sister's husband and by her sister's complicated feelings toward her. Andrés, who has been largely peripheral to the central drama, finds himself collateral damage in a conflict that predates his arrival and that has nothing to do with him.

Carmen, the mother who initiated this catastrophe by inviting Ofelia to the wedding in hopes of reconciliation, watches helplessly as her attempt at healing becomes the catalyst for destruction. She is forced to witness the unraveling of her family, the intensification of the very rivalries she hoped to heal.

The film concludes without offering any sense of resolution or redemption. The characters do not learn from their mistakes. They do not grow or change in any meaningful way. Instead, they are left suspended in a state of perpetual desire and frustration, condemned to want what they cannot have, to desire what is forbidden, to be trapped in cycles of jealousy and resentment that will likely persist long after the final credits roll.

The title of the film, "Desearás al hombre de tu hermana" (You Shall Desire Your Sister's Husband), becomes a kind of curse, a statement of inevitability rather than a moral prescription. The sisters are bound together not by love but by desire--desire for each other, desire for the same man, desire for a kind of freedom and authenticity that they can never fully possess. They are trapped in a web of their own making, unable to escape because escape would require them to deny fundamental aspects of who they are.

In the end, "Desire" is a film about the destructive power of unacknowledged desire, about the way in which sexual attraction can undermine the foundations of family and commitment, about the impossibility of controlling or suppressing the deepest impulses of the human heart. It is a meditation on the sisters' inability to move beyond their rivalry, on the way in which their estrangement and subsequent reunion only serves to intensify their conflict rather than resolve it. The film offers no redemption, no happy ending, no sense that things will improve. Instead, it leaves its characters--and by extension, its audience--suspended in a state of perpetual tension, forever caught between desire and duty, between passion and responsibility, between the pull of forbidden attraction and the obligations of family and commitment.

In the ending of the movie "Desire," the main character, a woman named Anna, confronts the consequences of her choices and the impact of her relationships. The film concludes with a sense of unresolved tension as Anna faces the reality of her desires and the people affected by them.

As the final scenes unfold, Anna is seen grappling with her emotions. She stands alone in a dimly lit room, reflecting on her tumultuous journey. The atmosphere is heavy with a sense of loss and longing. Her internal struggle is palpable as she recalls the moments that led her to this point, the choices she made, and the people she hurt along the way.

In a pivotal moment, Anna reaches out to her former lover, but the connection is strained. Their conversation is filled with unspoken words and lingering feelings, yet it becomes clear that the bond they once shared has been irrevocably altered. The weight of their past hangs in the air, and both characters are left to confront the reality of their separate paths.

Meanwhile, Anna's relationship with her husband, who has been a silent witness to her emotional turmoil, comes to a head. He expresses his pain and disappointment, revealing the cracks in their marriage that have widened due to Anna's actions. The confrontation is raw and emotional, showcasing the deep-seated issues that have plagued their relationship. Anna's husband ultimately decides to walk away, leaving Anna to face the consequences of her desires alone.

The film closes with Anna standing by a window, looking out into the distance. The light of the setting sun casts a warm glow, but it contrasts sharply with the coldness she feels inside. The final shot lingers on her face, capturing a mixture of regret, longing, and a flicker of hope for redemption. The screen fades to black, leaving the audience to ponder the complexities of desire, love, and the choices that shape our lives.

In summary, the ending of "Desire" encapsulates the emotional fallout of Anna's journey, highlighting the fragility of relationships and the often painful consequences of pursuing one's desires. Each character is left to navigate their own path, forever changed by the events that transpired.

In the movie "Desire" (2017), there is no post-credit scene. The film concludes its narrative without any additional scenes or content after the credits roll. The story wraps up with the emotional and dramatic arcs of the characters fully realized, leaving the audience with a sense of closure regarding the events that transpired throughout the film.

Anna is driven by a deep sense of longing and a desire for connection. Throughout the film, her emotional state fluctuates as she navigates her relationships, particularly with her husband and her lover. Her motivations are rooted in her search for fulfillment and the complexities of her romantic entanglements.

Initially, Anna's relationship with her husband appears stable, but as the story progresses, cracks begin to show. Tension arises from Anna's emotional distance and her secret affair, leading to confrontations that reveal underlying issues of trust and intimacy. Their interactions become increasingly strained, highlighting the emotional disconnect between them.

The lover serves as a catalyst for Anna's self-discovery and emotional awakening. He represents the excitement and passion that Anna craves, contrasting sharply with her mundane life. Their relationship forces Anna to confront her desires and the consequences of her choices, ultimately impacting her sense of identity.

The film's setting plays a crucial role in shaping the characters' experiences. The contrasting environments, from the intimate spaces of Anna's home to the vibrant nightlife where she meets her lover, reflect her internal struggles. These settings amplify the emotional stakes, as they symbolize both the allure of freedom and the constraints of her current life.

Key turning points in Anna's development include her initial encounter with her lover, which ignites her desire for change, and the subsequent moments of conflict with her husband that force her to confront her feelings. Each pivotal scene reveals layers of her character, showcasing her vulnerability, strength, and the complexity of her choices as she grapples with her desires.

The movie "Desire," produced in 2017, contains several elements that may not be suitable for children or sensitive viewers. Here are some potentially objectionable aspects:

1. Sexual Content: The film includes scenes that depict sexual situations and themes, which may be inappropriate for younger audiences.

2. Violence: There are moments of emotional and physical conflict that could be distressing, including confrontations that may involve aggression.

3. Emotional Turmoil: Characters experience intense emotional struggles, including themes of betrayal, jealousy, and heartbreak, which could be upsetting for some viewers.

4. Substance Use: There are instances of characters engaging in drug use, which may not be suitable for all audiences.

5. Mature Themes: The film explores complex adult relationships and moral dilemmas that may be difficult for younger viewers to understand.

These elements contribute to a narrative that is more appropriate for mature audiences, and parental discretion is advised.