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This ]lo?ng-lost m[asterpie:!%ce of @hardcore gay e r)?`oti-c cinema centers on,; a handsome you_=`, n`g stu%d% who/^ rides ,his motorc_+
yc\ %le? thr;oug;``h ![myriad sex:ual encounters, from a soccer game’s locke!%r room to a phantasmag`oric- and dee]ply melancholy- \ orgy. A$\^ labyrint)-h]- of  ;all-m=_ale fantasies  whose outstanding beauties always end up= fading aw ]#ay while leaving the]@ir )sensual protago @;nis_ t dealing ` with ]^@his \own loneli+n`.ess, /:-EQUATION was # direc` ted with /supre+!$me gra(=ce by the myst]eri ,#
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Die!tr *^ich de V*?els#*,a^ (ak_/a F_\\ra#=n:!,\cis Savel/Frantz Sal;ieri)(+!.[ ;= A for +/mer pain$ter]=, d..e Velsa $ was -also the ow?ner ^and arti%+:s# ti\:c director !#of La Gr(\and) e Eugène, one of t#-he fi* @rst drag cabar))ets $in Paris . Years later, h !e collabor/ated/ ^/ wit%+h Jos
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,eph ]L[osey o/^n MR/*. KLEIN (19-;76) ;, and DON GIOV;ANNI (1979). His- one and on_ly film, EQUATI-ON TO AN$ UNKNOW+N stand/s as one o.f th$^e most e*@
xtra[#ordinary erot,ic ;) films * of all _`time.
*- “The most [melan[
\cholic porn!, film I’ve ever seen=*. It’s ver] .[*y sad, @#and /.aesthetically@- be#$au([[]tiful. Ju#st a young man w+anderin.\ (g th +rough se@[*;veral depi (ctions of lo*
ve a^;[n-$ d c! ]h]oreogra`phies of *l %ove-making]; it’s l_\ike a cere ;mo!ny, a ceremo +=%ny) of fan)tasie[)s, e]\specially;) the;. last sequence__/ where the main char
acter  recalls #*) all hi\s`  @[?p!#re/`-viou-]s fa(ntasies, + which]] come on]!*-e b*=#y one) $?ar]ound his$ bed and make love @\=to him. I think it(’s %]one of t$ [he most beautiful film sequ_%;enc  es of F/ _r(*ench cin-ema.” –Yann Gonzalez