Perhaps the most experimental of Svankmajer’s feature films, Conspirators of Pleasure has no dialogue but features a baroque narrative, concerning a group of people each of whom has developed his or her own elaborate autoerotic rituals involving food, inanimate objects and occasionally other living beings. Conspirators is thus that rare object: a truly perverse film, one that suggests that there is a domain of solitary eroticism, wherein sexuality is meant not to unite two (or more) people but rather becomes a vehicle for the imagination. With its refusal of dialogue, the film forces the spectator to become a fellow conspirator, filling in the gaps in the chain that link Svankmajer’s perverts.