In this essay, we examine stylistic resources that underscore spectacle and extravagance in Joey Gosiengfiao’s “Temptation Island” (1980) to explore how the film utilizes exaggeration to dramatize camp sensibility, with the aim of broadening the notion of cinematic excess. Camp, for the most part, is considered a sensibility which is a response to the markedly attenuated and the strongly exaggerated. Our interest is focused on the object that may solicit that very sensibility, in particular, its formal elements. Our modest agenda is to speculate on how those elements of cinematic texts are able to solicit camp sensibility across cultural differences to render clear the “logic of taste” that Sontag speaks of in her “Notes on Camp”.