< Con la zia non peccato

Released: 1980
Director: Giuseppe Pulieri (in fact Stelio Fiorenza)
Notes: C.L.C., 90 mins. (just under for soft version, just over for hard version, but hard version viewed - Blue Movie video, 1985 - 77 mins.)

Males -

  • Alessandro Partexano plays the land-surveyor, Antonio De Vito Palmachiara Urzi
  • Pietro Aiello plays Saro
  • Gino Pagnani plays Alfredo
  • Mauro Vestro plays a notable person in the region
  • Elio Stefanizzi plays a notable person in the region
  • Salvatore Puntillo plays Calogero, the pharmacist
  • Giuseppe Cardone, soft version only, plays the newsagent
  • Alfonso Gaita, uncredited, plays Gloria's lover, hard version only
  • Bruno Romagnoli, uncredited, plays Gloria's lover in the shower, hard version only

In Con la zia non peccato (translation: With the aunt it's not a sin) we meet an attractive widow named Antonia (Antonella Antinori) and her 16-year old son Saro (Pietro Aiello), who are living in Sicily. Saro is very attached to his mother and is upset that she is now romantically involved with Calogero (Salvatore Puntillo), the village's pharmacist. One day, Gloria (Marina Hedman), Antonia's sister-in-law and also a widow, arrives to stay with Antonia and Saro. The sexually awakening Saro is attracted to his sexy aunt and starts falling in love with her. Meanwhile, Gloria is romanced by a hunky land-surveyor (Alessandro Partexano) but it doesn't work out, and she also has a brief lesbian fling with Antonia. Saro argues a lot with Antonia about her dating the pharmacist. Finally, he lets out his frustration to his aunt Gloria. She manages to make Saro understand that his widowed mother needs a new man in her life so that she won't have to be living old and alone by herself once Saro is ready to move out. Saro finally understands and agrees not to stand in the way of his mother's happiness. He and Gloria then make passionate love out in the woods. Gloria then decides it is time to go back home but she is stopped just in time by the land-surveyor, who convinces her to get married.

I suspect this was originally made as a softcore film since most of the actors are established non-pornographic actors. There are several hardcore scenes with Marina Hedman but they all appear to have been shot separately from the rest of the film.

Most of these hardcore sequences take place early in the film. During the opening credits, we see Marina and a short-haired woman (XNK5050) drive away from an airport and we next see them having lesbian sex in a bedroom. The next hard scene also takes place during the opening moments as Marina takes an excessively hairy guy (Alfonso Gaita) back home to have sex. Later in the film, a man (Bruno Romagnoli) surprises Marina by walking in on her while she is in the shower. She doesn't mind though, and quickly gets down on her knees to service him.

XNK5050, Gaita and Romagnoli do not appear elsewhere in the film, which supports the theory that these scenes were shot separately.

A lengthy sex scene between Marina and Alessandro Partexano also features some hardcore (blowjob and brief fucking) but all the shots of hardcore activity have clearly been shot separately with Marina and a body double for Partexano. The 'double' is painfully obvious because he's much hairier than Partexano.

Finally, the scene where Marina and Pietro Aiello have sex in the woods also features some hardcore: plenty of vaginal penetration shots and a quick blowjob but, again, it is obviously not Aiello himself who performs in this hard footage.

The only exception to the rule is the lesbian scene between Marina and Antonella Antinori, which features some hard-ish fingering that is actually performed on Antonella herself and not a body double.

I found Con la zia non peccato to be very well-made. Marina Hedman plays her signature character as the mature and sexy aunt once again, and delivers one of her most sensual and sexy performances. For my money's worth, this is a much better film than the thematically similar La zia svedese (1980).

Some film information added with help from Franco Grattarola & Andrea Napoli, Luce Rossa. La nascita e le prime fasi del cinema pornografico italiano, Roma: Ed. Iacobelli, 2014, pp. 290-291.

Johan Melle


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