Catholic good girl Joy (Fiona Wang) is somewhat miffed that dead author Yukio Mishima has supplanted her in the affections of boyfriend Hins (Adonis He) but feels humiliated when it becomes apparent that he has fallen for visiting out-and-proud mythology professor Antonio Ming (Jackie Chow) who proposes a utopian society where love has no borders in terms of gender or quantity of simultaneous partners. While she seeks the council of Ming's worldly research assistant Swan (Ching-Man Chin) - who has already made her own moves on Hins - Hins confides to Ming that he has never though of himself as being gay but relates to the feelings of the young Mishima and a desire to know himself. Ming's motives seem to be not so pure (except in the context of his beliefs) and he introduces Hins to a sensual world of pan-sexual free love that shakes his sense of self and his relationships with Joy and his mother (Jie Shui) who he feels has given all of herself to him at the neglect of her own feelings since his fisherman father left them (the specifics of which are unclear in his mind but it may have been a suicide). Although director Scud has acknowledged his indebtedness to Pier Paolo Pasolini, UTOPIONS is dedicated to Mishima, Rainer Werner Fassbinder, and Derek Jarman. While Hins identifies with the young Mishima and the nude romps aboard Ming's yacht and on the beach recall in some ways Jarman's SEBASTIANE (along with a fantasy sequence in which Ming is impaled by arrows), the film does take a Fassbinder-esque turn in the third act as Hins and Ming stand trial for having sex with Ming apparently being under the age of majority is so theatrically-staged and gives way to melodramatic plot twists that one is not entirely sure that it is supposed to be real. Sexually explicit without being pornographic, the film does not entirely convince that its utopian ideals are anything more than an excuse to show plenty of nudity and sex, but the film is so admirably unabashed in its depiction of sexuality in a manner that seems quite alien compared to its western counterparts that one could easily see Scud (already a seasoned filmmaker) moving towards more substantial cinematic statements about sexuality or just as easily becoming something akin to the Tinto Brass of homoerotic philosophy.