In the mountains of Germany stands a grim and secluded castle – the haunted legacy of the beautiful medieval vampire Baroness Varga. Put to death for her ravenous hunger for female blood, the Baroness uttered a curse that she would one day return to forever satisfy her unnatural lust and that day has finally come. Four women have gathered at the castle unaware that its darkly seductive housekeeper is a satanic high priestess presiding over a coven of delectable servants who each night perform sensual rituals and profane acts to keep the Baroness’ spirit alive. As the women are drawn deeper into the ultra erotic nightmare, it will be the most uninhibited among them who shall serve as the vessel into which the Baroness passes to continue her unholy reign of terror.
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
Beverly (Heather Hall) is about to learn a lot about herself, as she explores a side of herself she never knew existed. The way she behaves makes most people think she hates men, which would make sense, as she has been in numerous bad relationships with bad men. Her roommate Joan (Judy Young) has no such hatred, in fact she loves men and loves to have sex as often as possible. Her boyfriend Rook (John Aristedes) is not a good man, more like a street thug, but he satisfies her needs, so she keeps him around. One night, Rook decides to climb into Beverly’s bed, which sets off a sexual chain reaction. After that encounter, Bev realizes she is a nymphomaniac and as a result, she needs sex all the time. Joan catches the two in the act and beats Bev to a pulp, then tosses her into the street. She soon meets a new man who understands her condition, but when her path crosses once more with her old friends, will her new lifestyle be put in jeopardy? Continue reading
“BUTTERFLIES is the bonafide masterpiece… the best of the three Sarno-Nebe films and probably the sexiest “softcore” film he ever made. If BUTTERFLIES could be called “softcore”…the film was shot hardcore and then the penetration cut out to focus on the reactions and intense chemistry between the performers. Some fleeting moments of hardcore are still present, but this qualifies more as a hard softcore feature which would still be rated X today. Marie Forsa returns as Denise, a beautiful country girl whose life is filled with joy and love for her handsome boyfriend, Freddy. But living in an idyllic existence soon bores her, and she is off to the big city to experience the glamour and glitz for herself. She meets Frank, a dashing nightclub owner who takes her under his wing. But she doesn’t take kindly to the fact that she’s just one of his stable of women and must choose between the big city life and her dreary farm life. Continue reading
“…It is just this sexual enthusiasm that encouraged Sarno to write the second installment, GIRL MEETS GIRL (originally titled BIBI), around Forsa’s on- and off-camera sexual escapades. Seems she spent a lot of her off hours jumping in and out of the sack with virtually every cast and crew member, and this left a pretty significant impression on the plot of the second film – in which Forsa’s character Bibi has wild sex with nearly everyone she meets. Seriously, by midway through the film, there is barely any time given for exposition before fresh young Bibi is ripping off her little summer dress and going down on someone. Continue reading
From Mondo Digital:
“At the height of his creative output, director Joe Sarno was known for flinging out an ungodly number of softcore films each year with a surprisingly high standard of quality. Psychological insight, intensely erotic love scenes, and off-kilter dialogue were his stock in trade with films like All the Sins of Sodom and Young Playthings, but sandwiched in between these are some really oddball ones. Case in point: Marcy, a 1968 hayseed melodrama that feels like a stylistic precursor to the country cutie smut films of Harry Novak the following decade like Sassy Sue and Country Cuzzins, albeit with a lot less of that cornpone humor. The plot also feels like sort of a deep-fried riff on D.H. Lawrence’s The Fox, believe it or not, which Norman J. Warren also turned into a sex/sci-fi trash classic with Prey. Continue reading