Little Lola is deathly ill, but her papa cannot pay for medical treatment. The childless, wealthy Lorenzo offers to pick up the tab, and the humiliated father gives him the girl to raise as his own. When “Lolita” grows up into the fiery, dark-eyed Lola, she and the unctuous Lorenzo marry, “so we can go on being father and daughter, ‘til death do us part.” As a melodrama plot, this one is to die for, as they say, and Valéria Sarmiento lifted it from the reigning queen of Spanish romance, Corin Tellado. But in this French production shot in Portugal, she gives Tellado's purple prose the treatment: Our Marriage is both a serious scrutiny, à la Sirk, and a baroque fable, à la Raul Ruiz, Sarmiento's husband and collaborator (she edited his Suspended Vocation and Dog's Dialogue (PFA, April ‘84), he co-wrote Our Marriage). Selected for The Museum of Modern Art's New Directors/New Films ‘85, and Toronto Film Festival ‘85. Sarmiento has also directed A Man, When He Is a Man (see October 29).