In his fourth feature, Andrade distills 16 short stories by Dalton Trevisan, a specialist in tales of working- and middle-class life in the southern city of Curitiba, into a triptych farce concerning a young sexual deviant, an oversexed lawyer, and a senile couple malingering in abusive codependency. A parody of the pornochanchada sex comedies that proliferated in Brazil during the ’70s, Conjugal Warfare, in depicting the bedroom as battleground, broaches matters of class and race usually overlooked in the often brainless, escapist pornochanchada, for a film its author called “the black sheep of the erotic comedy.”