Jean Rollin – Les démoniaques aka Demoniacs aka Curse of the Living Dead (1974)

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Jean Rollin’s surreal pirate film takes place on land amidst the skeletons of beached and plundered ships, the legacy of a cutthroat band of “wreckers” who lure ships into the shallows. When a pair of survivors, young girls glowing in white nightgowns, wander through the shallows seeking help from the merry quartet, they are summarily molested, beaten, and left for dead. Like in many of Rollin’s films, the story doesn’t make much narrative sense–the girls escape to the haunted ruins where a woman in clown makeup cares for them and a mysterious magician gives them the power to take their revenge in return for sex–but the logic takes on a dreamlike quality appropriate to the gorgeous and bizarre imagery. In a strange tavern adorned with skeletons (and a man playing with a Dracula doll!), the Captain is haunted by visions of the girls as white-faced specters. A search for the girls amidst the rotting hulls of old ships culminates in a fiery inferno that burns spectacularly against the night sky. Meanwhile well-endowed costar Joëlle Coeur strips at the slightest suggestion, frolics and bounces on a bed, and runs around the beach topless while hunting the girls. Rollin’s strange little film, a ghost story without ghosts, rambles on a little too long before it culminates in a self-destructive frenzy and ends on a sad, serene note. Continue reading

Joseph W. Sarno – Abigail Lesley Is Back in Town (1975)

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A seductive woman, who left her small fishing town long ago after being caught with another woman’s husband, returns to shake up the place by seducing everyone, including the woman and her girlfriends.

Starring: Rebecca Brooke, Jennifer Welles, Jennifer Jordan, Eric Edwards, Jamie Gillis, Chris Jordan, Julia Sorel & Susan Sloan. Continue reading

Niva Ruschell – Tongue (1976)

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Pornographic Blacksploitation. Quasi, a Black man with a 9 inch tongue lives alone with a pet frog. Since his girl friend left him 2 years ago he has become mute and used by everyone. While playing chess by himself on a park bench he is humiliated by a young woman. He’s then sexually taken advantage of by his gay doctor whose nurse hooks him up with her nymphomaniac friend Cherry, played by Briggite Maier, who then proceeds to have her friend Nancy over for a threesome. He constantly dreams of his ex and holds his pet close to a ceramic frog as if to symbolize the meaningless of it all. He walks alone on the beach and stops to stare at a young black couple lying on a towel. The man threatens him and chases him away. He picks some flowers intending to go back to Brigitte’s place but when he arrives an orgy in process. He walks along the beach and goes home only to see his ex with a white man. Continue reading

Alex E. Goitein – Fringe Benefits (1974)

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Tighttwat Institute for Sexual Research, aka “Hard-on Heaven”, is where Dr. Cherrypopper gets sex readings from assistant Miss Motormouth. Their new client is impotent Harry Flattout. As a workplace sex pacifier, Harry pacified Ginny Pullertit and shy new worker Mary-Ann Lobglob, with assistance from Thunderfart, who moved on to passer-by Captain Sukatiddy. Harry got fired ganging up on Mr. Cockpul’s private secretary and lover, Elaine Ziptitz. Dr. Tighttwat takes her own advantage of Harry, supposedly ascertaining his case while really climaxing while remaining a virgin. Up next, Dr. Cherrypopper’s machine overloads when his assistant seduces him, and the assistant test drives Harry’s resulting permanent erection. Harry uses it to forcefully deflower Dr. Tighttwat, until she consents. So does Elaine Ziptitz, who reveals ending up enjoying their first encounter. Harry is re-hired as the boss realizes the importance of fringe benefits. Continue reading

Fred Halsted – LA Plays Itself (1972)

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L.A. Plays Itself begins as a mock-pastorale, with a steamy woodland encounter between a long-haired blonde guy and a hunky brunette whose face, typical of the director, we can barely discern. This extended hardcore sequence of outdoor sex gives way to images of bulldozers tearing down parts of the city; noisy, car-choked streets; and opportunistic encounters that occur both onscreen and on the audio track, the latter in the form of a conversation between a hayseed from Texas who’s just arrived in town and a predator who pretends to warn him of the dangers of the “big city” as a kind of nervous foreplay ritual. Halsted’s sex is sweaty and desperate, set against images of cruelty and destruction both in the bedrooms, bathhouses, and casual sexspaces where it occurs and in the grim, trashy world looming just outside. The sardonic commentaries of the director, who’s also usually a participant even when only seen in shadow, add unexpected touches of humanity.L.A. Plays Itself is a film of private rituals publicly exposed
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