Wild Orchid 1989

Emily Reed, Carré Otis, travels from New York City to Rio de Janeiro after a law firm offers her a job that hinges on a rapid trip abroad. In Rio, she teams up with Claudia Dennis, Jacqueline Bisset, a top executive at the firm, as they move toward finalizing the purchase of a luxury hotel. Claudia intends to wrap up the deal with the hotel’s owner, who must first be met in Buenos Aires, so Emily is asked to cover her glamorous dates in the meantime. The arrangement sets Emily into the orbit of a mysterious, quiet man named James Wheeler, Mickey Rourke, who invites her to a dinner with his entourage of bodyguards before escorting her through Rio’s lively streets.

What starts as a courteous, low-pressure evening gradually threads danger with charm. Wheeler’s restraint and curiosity draw Emily in; he asks intimate questions without pressure, and their late-night stroll through a bustling carnival reveals a level of emotional distance that both unsettles and attracts her. After a masked man who resembles Wheeler makes a seductive move on her, Emily leaves, only to wake the next morning with Wheeler quietly watching over her and presenting a bouquet of orchids. He apologizes by offering to show her more of the city, yet his actions hint at a deeper pattern: he avoids touch and resists genuine vulnerability.

As they attend a party with a married couple they met earlier, Wheeler defends the wife from aggressive sailors, and the trio depart in Wheeler’s limousine. The wife’s infidelity fuels Emily’s discomfort, and Wheeler seems to encourage a dissolve of the couple’s tensions by inviting intimacy in the car. At the hotel they’re courting, Emily opens up about her fear that Wheeler might vanish if she truly reaches out to him. When she hugs him, he pulls away, confessing a distaste for being touched. The mood darkens as Emily, seeking passion, chooses to sleep with a stranger who propositioned her at the carnival—an act that unsettles her sense of agency.

Claudia returns to Rio with the hotel’s owner, and a tense airport meeting unfolds. Emily discovers that the man she slept with is Jerome, the owner’s attorney, Bruce Greenwood, who uses their encounter to pressure her into delivering a better deal. Claudia uncovers the truth and leverages it to threaten Jerome: finish the deal or face exposure. In a crucial moment, Claudia learns that Wheeler has already acquired the hotel’s deed, a move she had hoped to circumvent. Yet she presses ahead with the sale, trying to keep Wheeler at a distance even as his actions ripple through everyone’s plans.

A celebratory party for the hotel sale follows, and Claudia invites a young surfer to her room, asking Emily to translate what he says in Portuguese. The invitation seems to suggest that Emily could join them, but Wheeler intrudes just in time. Emily accuses him of orchestrating disappointments as a rule, and Wheeler counters that he does not set people up—those are their own choices. A package arrives at Emily’s room containing confirmation that Wheeler has signed over the deed, seemingly saving the deal. Yet when Emily finds Wheeler, she tells him that she loves him, only to be met with an elusive silence that leaves the moment unresolved.

That night, Wheeler awaits in Emily’s room and offers a stark confession: after wealth came abundance of attention from women, and with it a compulsive need to play games. The games became a life pattern, and he cannot break them. Emily presses him to reach out, offering her love if he will simply touch her. He resists at first, but when he believes she will leave, he finally reaches out and they share a tender embrace and a more intimate connection. The film closes on the two of them riding away together on a motorcycle, stepping into an uncertain future that blends desire, risk, and a fragile form of trust.