Chusei Sone – Showa onnamichi: Rashomon AKA Naked Rashomon (1972)

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Quote:
As he had done for Rashamen Oman: Ame No Oranda-zaka and its sequels, former Seijun Suzuki disciple Chusei Sone borrowed his master’s screenwriter, Atsushi Yamatoya (Koya No Dacchi Waifu) for this fascinating pinku eiga film. Despite the title, the film bears little in common with the classic Rashomon, and only the second half takes place in the Showa era, but it is nonetheless among the most interesting films of its type. Hideaki Ezumi stars as a powerful marquis named Katsuragawa, whose prostitute mistress (Hitomi Kozue) bears him twins. Being that twins are considered bad luck, the babies are separated at birth, with Ezumi raising the boy and Kozue raising the girl. Nineteen years pass, and the blissfully ignorant twins (also played by Ezumi and Kozue) meet and fall in love. By coincidence, Kozue just happens to be a prostitute like her mother, and the cycle continues. Stylish, surrealistic, and often just plain weird, this Nikkatsu release made a star of Kozue and reinforced Sone’s position as the studio’s most inventive director. Continue reading

Joe de Palmer – Cécilia et les autres femmes au bordel (1980)

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Synopsis:
Cécilia is fed up with her husband who keeps on watching TV, drinking beer, belching and picking his teeth. After some fun with the plumber (not so frequent nowadays, are they?), a postman bringing a telegram, a salesman and a female nurse, Cécilia agrees on going to the “maison de rendez-vous” (what’s the English for…) owned by one of her female friends. Just watching at first, she quicly gets attracted by money and gets down to work. From now on her husband will have to pay for her “services”. Continue reading

Gunter Otto – Die Samenräuberinnen (1980)

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Synopsis:
Helga is a perfect secretary. Although engaged, she accepts her boss’s advances provided he rapes her. When a maid and the nightwatchman come along, they play a foursome. Mrs Fritz, the boss’s wife gets a glimpse of the situation and locks herself in with the nightwatchman for some fun of her own. The husband watches them through the keyhole and gets a spurt in his eye (Kolosalle Pi kanterie, I guess!). After being sacked, Helga finds a job as a waitress in a cafe and has fun with bowling players both male and female. A very boring movie although the main role was played by a very convincing actress. Continue reading

Andrew Repasky McElhinney – Story of the Eye (2004)

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MOVIE REVIEW

From The New York Times

Inspired by the notorious 1928 pornographic novel by Georges Bataille, the patron saint of postmodernism, Andrew Repasky McElhinney’s “Georges Bataille’s Story of the Eye” is a genuine independent film, with no commercial prospects and no economic reason for being. It is a strange, beautiful, disturbing and at times literally painful work, an original and distinctive expression by a gifted young Philadelphia-based filmmaker who here confirms the talent he displayed in his 2001 film, “A Chronicle of Corpses.”

If Bataille’s novel was an attempt to write that which should not be written – it is his work that introduced the notion of transgression, the violent, ecstatic breaking of taboos that became so important to postmodern thinkers like Michel Foucault and Susan Sontag – Mr. McElhinney’s film is an attempt to show that which should not be shown. That means hard-core sex, performed in all the possible permutations by a fearless young cast. Continue reading

Norifumi Suzuki – Furyô anego den: Inoshika Ochô AKA Sex and Fury (1973)

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Sex & Fury, one of the wildest, most violent, just-plain-entertaining Japanese sexploitation pictures from the 1970s stars smoldering young ‘pinky violence’ actress Reiko Ike (veteran of the Girl Boss aka Sukeban film series) as Ocho, a gambler and pickpocket in Meiji Era Tokyo. After sheltering a fleeing anarchist, Ocho encounters the three villains responsible for her father’s murder, and runs afoul of various yakuza who want her dead. A European spy (beautiful Christina Lindberg, star of Thriller – A Cruel Picture), whose sadistic diplomat boss has his own nefarious plans, complicates matters. A riproaring action saga filled with beautiful bodies, bloody swordplay, and psychedelic imagery — all beautifully photographed in a number of astonishing setpieces. Directed by Norifumi Suzuki (who fathered the Sukeban genre), Sex & Fury transcends the pop culture realm to achieve genuine art. Followed by the outrageous sequel, Female Yakuza Tale – Inquisition & Torture (also available from Panik House), it’s the best film you’ve never seen! Continue reading

Marco Ferreri – Liza AKA La Cagna [+Extra] (1972)

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synopsis:
This dark offbeat comedy from Marco Ferreri features Marcello Mastroianni and Catherine Deneuve. Mastroianni plays Giorgio, who lives on a island somewhere off the Mediterranean coast of France. He lives there with his dog, and the remains of an old German World War II airbase.

He earns his living drawing cartoons. Liza (Deneuve) swims to the island from a rich man’s yacht, and the yacht’s crew confirm the end of her relationship with the owner by bringing her luggage to the island. She and Giorgio meet and become involved. She is jealous of his relationship with the dog and kills her rival while assuming its duties: wearing a collar, fetching sticks, etc. Continue reading

Jos Stelling – The Gallery (2003)

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After winning top awards in Montreux, Utrecht, and St. Petersburg for THE WAITING ROOM, followed by the Grand Prix at the Mediawave festival in Györ (Hungary) for THE GAS STATION, Jos Stelling completed his Erotic Tales trilogy with THE GALLERY. Stylistically they’re all connected: each is narrated visually without dialogue, each makes merry fun of an embarrassing erotic fantasy in a public place, and each features the same likeable fall-guy – Belgian actor Gene Bervoets – as the hero always ready and willing to strut his manhood like a peacock in heat. In THE GALLERY Gene finds himself the sensual object of a beautiful woman’s desire. So when, suddenly and unexpectedly, she begins to strip for his pleasure … one good turn deserves another … (IMDb) Continue reading

Jos Stelling – The Gas Station (2000)

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During a traffic jam, a man flirts with another driver.

Jos Stelling (1945) made his debut as a director with Mariken van Nieumeghen in 1974. The film was selected for Cannes in 1975. Since then he has been writing and directing eight feature films. For his short film The Waiting Room (1996) Stelling was awarded a Golden Rose (Press Award) in Montreux, a Golden Gryphon in St. Petersburg as well as his fourth Gouden Kalf (GoldenCalf, the Dutch film award). Continue reading

Jos Stelling – De Wachtkamer AKA The Waiting Room (1995)

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From IMDB:
User Review

“O be careful little eyes what you see . . .”
19 October 2001 | by Timothy Damon

This director is simply incredible. I saw Jos Stelling’s film THE POINTSMAN some years ago, and I’m not sure I would have believed a feature length film without the spoken word could be made. But he did it, and it was great! So then, would a shorter film in the same format be easier to make? You might think so. But Mark Twain once remarked (paraphrased) that he could do a 2 hour speech on most any subject with little advance preparation, but to properly do a 15 minute speech might take at least a week to properly prepare. Regardless, he has a wonderful time in a train station, mostly in the waiting room. The camera is mainly on a Casanova of a man as his gaze goes well beyond the personal boundaries of the women he is, . . . well, to put it bluntly, lusting after. It reminded me of the cartoon postcard of a slick-talking guy next to a woman asking her “Do you mind if I undress you with my eyes?” and she is thinking {‘well, I guess it’s better than having you touch me”] Whether or not this guy knows he’s gone beyond the bounds of propriety I’ll leave to your contemplation. But his come-uppance is quite delightful. Continue reading

Liliana Cavani – Interno Berlinese AKA The Berlin Affair (1985)

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Review I

In 1938 Berlin, Gudrun Landgrebe, wife of Nazi functionary Kevin McNally, begins taking art lessons. She makes the acquaintance of another student, Japanese ambassador’s daughter Mio Takaki. Soon afterwards, the two women begin a passionate lesbian affair. This leads to a chain reaction of disaster and tragedy, culminating with the inevitable intervention of the Gestapo. Despite the film’s galloping sexual passions, The Berlin Affair is an exercise in aloofness, keeping the characters at arm’s length-surprising, considering that the director was Liliana Cavani, auteur of the erotic classic The Night Porter (1974). The film was based on The Buddhist Cross, a novel by Junichiro Tanizaki. ~ Hal Erickson, All Movie Guide Continue reading

Erwin C. Dietrich – Blutjunge Verführerinnen 3 aka The Calendar Girls (1972)

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A hitchhiking runaway tells the man who picks her up about her friends’ sexual escapades.

IMDb comment:
Delicious sex scenes with Ingrid Steeger, towards the end are of a different order.
For the most part the sex scenes are awkward and the links abysmal while the ongoing devise whereby the fat guy provider the lift gets told the various tales adds nothing. However the delicious sex scenes with Ingrid Steeger, towards the end are of a different order altogether and the final potentially gross scene with the very large and ageing forest ranger a thing of wonder. Why couldn’t Steeger have just done all the scenes? She is not well supported here and it looks like a case of relying a little too heavily on her ability to carry the film. Still, as I say the film is saved in the last half hour and whilst I never want to see most of this little number again, I am sure I could delight again in that fine reel or two. Continue reading

Erwin C. Dietrich – Der Teufel in Miss Jonas (1976)

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Dirtymoviedevotee from Brugge, Belgium wrote:
The Devil Came From Zürich, 19 June 2010
7/10

By the mid-1970s, hardcore still could not be legally screened in most European countries. That situation would soon change in a few flagship regions like Holland, France and Germany, though others like the UK and Belgium stuck to their guns well into the video era. None of this prevented Old World inhabitants of learning about the explicit extravaganzas that were packing movie theaters on the other side of the Atlantic. As yet unseen, Gerard Damiano’s landmark DEEP THROAT and the Mitchell Brothers’ BEHIND THE GREEN DOOR built up mythical reputations by word of mouth that could only be damaged by the sobering reality of these merely modest attempts at broadening a genre thus far limited to brothels and stag parties. Continue reading

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