I sette magnifici cornuti (1974)

The scene starts with a voluptuous black woman in a dimly lit room, curly hair framing her face, hand pressed to her mouth like she’s just realized what’s about to go down. Her breasts spill out of her top — thick, natural, and bouncing slightly as she turns, eyes wide, toward a glowing red TV screen. Cut to a messy living room: a white woman in her late 30s or early 40s hurls a red chair across the room, face red, curtains blowing from an open window. Then the tension shifts—she’s not alone. A slim white guy with brown curly hair sits frozen at a dining table, hands over his face, food still on the plates like he’s been caught mid-meal. The confrontation leads straight into group sex—no build-up, just clothes ripping off, bodies crashing together. One woman rides him fast on the couch while the other sucks his dick in a sloppy 69, moaning loud enough to drown out the city traffic seen through the window. Camera stays wide during most of it, catching everyone in the same frame like it’s all unfolding live. Nothing fancy, just raw, messy action with a focus on real body movement and facial reactions.