Emanuelle Tagged Articles at Cinematical
Killer B's on DVD: Women's Prison Massacre
Filed under: Independent », Killer B's on DVD »
Laura Gemser appeared in a long string of Italian softcore films as Emanuelle. Note that the name is spelled with a single "m" to differentiate the character from the one appearing in the official Emmanuelle films that began in 1974 and originally starred Sylvia Kristel (though Gemser appeared in a small role in the original series' sequel Emmanuelle 2). Gemser's Emanuelle films were often from the seamier side of the exploitation spectrum. Emanuelle in America, for example, saw the title character investigating the production of snuff films and featured scenes of hardcore sex (without Gemser) and a dalliance with bestiality that makes the donkey show in Clerks 2 seem Disney-esque.
Emanuelle and the Last Cannibals (a.k.a. Trap Them and Kill Them) saw the softcore porn series crossing over with the cannibal film craze of the time, and the film we're here to discuss today, Women's Prison Massacre, brought the character into the women-in-prison genre. This entry in the series is directed by Bruno Mattei, a man of staggeringly little talent. Admittedly, his ultra cheezy post-apocalyptic epic Rats (for which he used his frequent pseudo name Vincent Dawn) is a guilty pleasure of mine, but other films of his like Virus (a.k.a. Hell of the Living Dead and Night of the Zombies) sap my will to live.
Tribeca Review: Tierney Gearon: The Mother Project
Filed under: Documentary », Independent », Tribeca », Cinematical Indie »
Tierney Gearon: The Mother Project is such a beautiful, emotionally complex, and intellectually layered film, it's a shame its makers sought fit to stick it with such a literal, potentially crippling title. It begins with shades of Tarnation, as the titular, internationally renowned model-turned-photographer Gearon drives through blinding snow to the rangy, ramshackle upstate NY home of her schizophrenic mother, who she'll proceed to photographically document, off-and-on, for the next three years. As a story of art under the influence of familial tension and mental illness, comparisons to Jonathan Caouette's me-me-me-a-thon are seemingly inevitable. But filmmakers Jack Youngelson and Peter Sutherland provide a welcome layer of distance; their film is undeniably as interested as Caouette's in the role that personal mythology plays on art, but they wisely stick to documenting that relationship, without weaving it into an artificial mysticism.
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