Ruth and Michel separate after Ruth finds another man, Paul. Ruth and Paul go to her sunny, idyllic beach side villa to spend summer. They are having a great time together, and then things start happening. The brakes of the car fail, and Ruth narrowly escapes death. The diving equipment goes faulty, and Ruth almost drowns. Michel turns up at their doorstep for an uninvited social call, and Paul asks him in. Ruth suspects Michel of being the person behind the mechanical faults of the car and the diving equipment, but Paul dismisses such a possibility – but he does suggest it to Michel. Then, the heat does go up… —IMDb
José María Forqué (8 March 1923, Zaragoza, Aragon – 17 March 1995, Madrid) was an Aragonese screenwriter and film director. Father of the actress Verónica Forqué and the director Álvaro Forqué. —Wikipedia
Very much belongs in the company of gialli like *Sweet Body of Deborah* and *So Sweet... So Perverse*—inheritance-gone-wrong gialli that, though infused with more liberal doses of sleaze and sex, still tend to be fairly recognizable, fairly traditional thrillers. I.e., in a giallo like *Lizard in a Woman’s Skin* the inclusion of a swan is made on the strength of its feverish associations, menace, connections to
repressed dreams (the fact that the bird becomes enormous and chases Florinda Bolkan through her dreams bears this out). In this film, instead, the swan is a kind of decadent or colorful prop, a material example of how extravagant and bored these rich heiresses and preppie gigolos are in life. Nice twists, and nice to see Tony Kendall from *Return of the Evil Dead*, playing one part of the gang meant to strip his rich wife of her money.