6 posts categorized "Sexploitation"

February 10, 2016

THE DUKE OF BURGUNDY

Duke of BurgundyWriter/director Peter Strickland (“Berberian Sound Studio”) explores the power dynamics involved in a lesbian sadomasochistic relationship that exists in a utopian atmosphere of rural isolation. This is an erotic drama for adults. Leave “50 Shades of Grey” to the kiddies. This nuanced sexual tale of erotic BDSM topping from the bottom is tantalizing, titillating, and dirty in a way that only the human imagination can explore with such deviant romantic sophistication on the big screen without going full porn. Mistress/Slave. Yummy.

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Danish actress Sidse Babett Knudsen plays Cynthia, a butterfly expert who resides alone in a lush country mansion somewhere in Europe. Cynthia’s full-time maid Evelyn (wantonly played by Chiara D’Anna) seems to take payment for her frequently spotty work, in staged punishments that her mistress Cynthia doles out with stern deportment and appropriately black fetish attire. Formal costume precision is required. So too is a proper attitude of distant attraction.

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Evelyn may be marginal in performing her house chores, but she makes up for it in the bathroom, at the service of her full-bladdered mistress. A purposely-unwashed pair of Cynthia’s soiled panties gives cause for a human-toilet golden shower session behind closed doors that leaves Evelyn hungry for more, more, more, more toilet action in the future.

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Strickland’s sensual visual touches of stylistic homage to softcore masters such as Jess Franco give the film a sustained sense of lush erotic and dramatic tension, but he allows the racy narrative to go flat. Evelyn’s outré desire for humiliation drives a lesbian relationship centered on fulfilling the couple's fetishistic desires.

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Evelyn's submissive coquettish character gains more pleasure than her older dom Cynthia does from their scripted BDSM sessions together. Equality is not all it's cracked up to be.

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The film’s hook rests with the couple’s bottom-topping paradigm, which proves to be the key to the women's complex sensual connection. Evelyn leaves specific handwritten instructions for Cynthia to fulfill. The submissive is calling the shots. Perhaps this is the secret to the recipe. This self-scripted method for Evelyn to achieve her desired fetishistic scenarios has intrinsic limits that Cynthia isn't able to fulfill, at least not yet.

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Although it’s clear that Evelyn is working up to serving as a full-duty (#1 & #2 — shocking, I know) human-toilet to her more mature mistress, the filmmaker inexplicably reneges on the dirty motivation. What could have given the film a truly shocking aspect evaporates when romance deposes the fetishistic elements of the women’s unique bond. Rather than the specially designed toilet chair she requests, Evelyn has to settle for a trunk where she is imprisoned overnight at the end of her mistress's bed.  

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“The Duke of Burgundy,” with its perfectly disguised title, could serve as a compass-marker for other (more daring) filmmakers to follow in the footsteps of. Mainstream cinema and pornography continue to overlap. Where are the daring, transgressive filmmakers of the 21st century? No modern-day John Waters? What is wrong with the world?

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Neither entirely frustrating nor satisfying, here is an enjoyable erotic film populated with only female characters. As such, "The Duke of Burgundy" affords the audience a much-needed break from Cinema's predominance of male influence, albeit from the director himself. It would be interesting to see how a more daring [female] filmmaker would follow the story’s fetishized elements toward their logical trajectories. Perhaps then Evelyn could achieve the transformation into a human-toilet that she desires. What then?

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Not Rated. 104 mins. (B-) Three Stars

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December 08, 2015

REFORM SCHOOL GIRLS — CLASSIC FILM PICK

Reform School Girls Although critically scorned and criminally overlooked, co-writer/director Tom Desimone’s punk rock-inspired indie sexploitation flick has it all.

Revved up new wave music and ‘80s hairstyles accompany the snotty anti-authoritarian attitude of a group of all female inmates at “Pridemore” jail. Resident lesbian badass inmate Charlie Chambliss (unforgettably played by Plasmatics singer Wendy O. Williams) rules the roost in conjunction with her ostensible lover, warden Edna (Pat Ast). Charlie brands the butt of the girls in her (not so) secret clan with a red-hot coat hanger. Such fleshy details give the movie its palpable sense of danger and bondage.

Famous for wearing only black strips of electrical tape over her nipples while taking a chainsaw to electric guitars when performing with her notorious ‘80s era punk band, Williams elevates the film’s transgressive nature into something sublime. Wendy O. Williams’s Plasmatics persona could easily have been the inspiration for Charlize Theron’s character Imperator Furiosa in Geroge Miller’s “Mad Max: Fury Road.”

The film’s predominantly female cast is rarely clad in anything more than belted gray shirts that pass for prison uniforms, when they aren’t completely nude or wearing only panties and bras. Obligatory shower sequences and catfights attend the narrative about Jenny (Linda Carol), one of the jail’s latest arrivals.

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The storyline involves some keen editorializing about the sinister nature of privatized corporate culture. The prison’s visiting psychiatrist Dr. Norton (Charlotte McGinnis) shows genuine concern for the girls she treats, while Charlie, Edna, and warden Sutter (Sybil Danning) ruthlessly abuse the prisoners with things like fire hoses turned on full blast. Danning’s warden Sutter is an impenitent knock-off of the buxom Nazi dominatrix character that Dyanne Thorne created for the Ilsa sexploitation war franchise that includes “Ilsa: The Tigress of Siberia.”

The filmmakers gleefully prove warden Pat’s cruelty in a hilariously pitched sequence in which she chases and stomps a kitten smuggled into the jail by Lisa, a victim of paternal abuse.

Punctuated by racy dialogue, some truly impressive stunt work, and appropriately campy outbursts of violence, “Reform School Girls” sustains its female-centric dramatic tension with gutty performances that offset the film’s humorous intent. The contrast between its tongue-in-cheek action and the powerful emotional commitment from Charlotte McGinnis and Sherri Stoner in their performances contribute to this film’s unique quality.

We have Roger Corman’s New World Pictures to thank for creating the low-budget format that gave audiences a long list of cool exploitation movies (like “Rock ‘n’ Roll High School”). Although Corman sold the company in 1983, it continued to put out a plethora of genre films throughout the ‘80s that gave fun-loving audiences a steady staple of titillating cinema. While it’s sadly true that “they don’t make ‘em like that anymore,” you can always return “Reform School Girls” for your down-and-dirty cinematic kicks.

Rated R. 94 mins. (A-) (Four Stars - out of five/no halves)


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May 21, 2015

LOVE — CANNES 2015

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The pornographic  “Love” is a 3D sexploitation movie made by a filmmaker unaware of the genre that he’s working in. Noe, the genius behind such groundbreaking examples of provocative social satire as “I Stand Alone” and “Irreversible,” has made a film so sophomoric that it boggles the mind.

It is amazing that this dross came from the same person who created “Enter the Void,” one of the most visually and viscerally challenging films of the last 20 years. (That movie is currently streaming on Netflix.)



Marketed as Noe’s supposed dream project since his days in film school, the "semi-autobiographical" “Love” is meant to display the reality of “sentimental sensuality” via “blood, tears, and cum.”

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Semen is by far the most plentiful of the three fluids shown on, and off-screen, when you consider the graphic bit in which Noe takes obvious advantage of the 3D process to break the proscenium window with a load of gooey spunk. I get it: this single image is enough provocation to elevate “Love” to cult status out of the gate. So be it. 

Real Sex Mainstream Gaspar Noés Love Deutschlandstart | CLOUDY GIRL PICS

Featureless no-name actor Karl Glusman plays the director’s younger alter ego Murphy, an always-horny American studying filmmaking in Paris. Murphy (yes, "Murphy's law” is the trite allusion that Noe is compelled to spell out in block letters) is a miserable soul whose passion for cinema means that he wears an olive-green Army jacket just like the one Robert De Niro wore as Travis Bickle in “Taxi Driver.” Posters from such divisive films as Pier Paolo Pasolini's “Salo” and “Andy Warhol’s Frankenstein” adorn Murphy’s small Parisian pad, which he shares with Omi (Klara Kristin), the mother of his son Gaspar (yes, really), courtesy of a broken condom.

Love: All the Graphic Nude Scenes - Nude Scene Compilation at Mr. Skin

Not only is there not a single empathetic character in the movie, but the ostensibly character-defining, formally explicit sex acts that Noe films (primarily from above in a pictorial framing style), illuminate fewer aspects of personality traits than you would find in a typical sample of homemade porn.

Springboard: Karl Glusman on the Fear and Freedom of Shooting Gaspar Noé's  3D 'Love' Sex Scenes | IndieWire

“Love” premiered at Cannes (2015), a festival certain to include at least one salacious picture per year. In 2003, Vincent Gallo’s “The Brown Bunny” sent critics groaning over its gratuitous oral sex scene between Chloe Sevigny and Gallo. “Brown Bunny” certainly isn’t any better than “Love,” but it was mercifully shorter at 93 minutes.

Aomi Muyock :: Celebrity Movie Archive

“Love’s” arduous running time is 130 interminable minutes. Another difference is that no one expected much from Vincent Gallo as a filmmaker, who had only made one film (“Buffalo 66”) before “Brown Bunny.” The situation is considerably different for Noe, who is likely to discover that even his staunchest supporters will find little to admire, much less love, in a film that feels more like a student film project than a movie by an experienced filmmaker. “Love” represents the one of the biggest examples of regression for any filmmaker in recent history. What a mess.

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Not Rated. 130 mins. 

Zero Stars

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