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The image of the sadist has saturated all man- ner of cinema, from the iconic image of the sa- distic killer to the female dominate of such ex- ploitation classics as the lisa Series, where lisa works her way through a bevy of men using sex, torture, flagellation and lots more.

Leopold von Sacher- Masoch January - March is con- sidered the father of masochism and while he produced titles in many fields, his novel Venus in Furs is his on- ly book available in English and is the epito- me of male submissive fiction. While theoretically separate. Sadism and Maso- chism usually work in tandem and are shown that way throughout cinema.

One of the classic works is The Story of 0 His work has also pro- vided rich pickings for erotic cinema. Pasolini adapted his Days of Sodom into the explo- sive and, in Australia, still banned Salo Justine has been adapted multiple times in films from many counties. Some interest- ing versions include Marquis de Sade: Jus- tine d. Jess Fran- co, Justine de Sade , d.

Claude Pierson, Justine: Cruel Passion d. Chris Boger and Headspace , aka Justine, d. Mia Olin. A startling fiim expioring all man- ner of fetishes inciuding whipping, bondage and submission, it was and is quite a controversiai work. Classic examples include llsa:She Wolf of the S. Based on an infamous French best- seller this movie depicts a love triangle between a mature woman, her sub- missive young girl friend and a curious author. It includes graphic sex, hu- miliation, degradation, bondage, whipping and golden showers.

Fantasy In the third group, one style of fetish worth mentioning is the strange attitude the Japanese have to the depiction of sex in their films. Until fairly recently any depiction of female genitals was banned. Give them a tail and pussycat ears on an other- wise human body and they were no longer hu- man so it was OK to treat them as fetish ob- jects. One of the more unusual comedy horrors is Splatter Disco Shock-O-Rama Cinema which is a horror sex comedy with furries! Many cartoon film stars are also depicted by fan fetishists in a more sexual role.

There is also the schoolgirl fetish - not the U. A classic exam- ple being in the Hentai Overfiend series: Urotsu- kidoji: Legend of the Over- fiend and sequels. Often the fetish crosses over into Western film and becomes perfectly acceptable - does anyone still regard earrings as a piercing fetish? Now some specific examples. Try these if you wish. The shoe fetish is also known as Retifism after Nicholas-Edme Retif, a novelist who included the shoe fetish in his writings.

The most com- mon style of fetish is impractically high heels but many other styles exist, especially in boots. Rhabdophilia is a preference for being beaten by a rod, whip or other instrument of punish- ment. Mastigophilia is the general liking of hav- ing pain inflicted on you or watching pain being inflicted on others. Does this include Wile E. Coyote cartoons? If so, does this mean that our kids are all a bunch of mastigophiliacs?

Parthenophilia is a liking for virgins. There is a darker side, however. It is a natural partner of exhibitionism, the fetish of showing yourself off or exposing yourself in a sexually provocative manner. The love of being tickled, especially with a feather, is Pteronophilia. Bestiality is using the whole chicken. I know of no films that include this Pteronophilia fetish - maybe I should make one.

Klismaphilia is a liking of enemas for sexual gratification. Although enemas are recorded way back in history as a medical treatment the fetish element has only been noted during the 20th century. Are they re- ally kinky? Z Listener While New Zealand has become known as Mid- dle Earth and the tale of The Lord of the Rings will never be the same again due to the un- swerving dedication and unique vision of Peter Jackson.

New Zealand has produced many great filmmakers and one who is lesser known is David Blyth. Blyth was a young Auckland arts student who essentially trained himself in moviemaking by watching "lots and lots of films". His first attempt at cinema is a black and white short called Circadian Rhythms This short attempts to "slip past the conscious mind" as it explores what goes through the psy- che of a man who has had a car crash. At the age of 22 Blyth produced his debut feature, An- gel Mine , a fascinating film which com- A scene from Angel Mine bines surrealism, biting social commentary and eroticism.

It is a strange and surreal exploration of relationships, sexual- ity and consumerism. It has bizarre dreamlike sequences mixed with relatively explicit sex scenes, suburban living and social criticism. It is certainly unusual for to have such a honest depiction of sexual activity. The score is a superb mixture of piano even classical type music, what is now considered Lounge and some great punk tracks. The use of radio broadcasts and voice over to offer bit- ing social commentary is also very successful.

It is a wild ride and was really very successful for the time. Death Warmed Up is a fascinating horror story on many levels. It combines eroticism including homoerotic themes , horror and trans- gressive content to create a superior tale about the limits of science.

Once again Blyth takes aim at our consumerist society, this time with our obsession with longevity at all costs. The film itself has the overarching tale of a father manipulating his own son for medical experi- mentation and using him to dispose of an adver- sary. After years in a mental institution, the son re- turns for revenge. Blyth is never afraid to challenge and Death Warmed Up has medical procedures, gore, eroticism and action. The cine- matography is excellent with beautiful New Zealand landscape somehow transformed to create a real sense of terror and madness.

Death Warmed Up while made in still stands the test of time and works well as an unusual and multilayered horror film. While Blyth has worked on various Hollywood and mainstream productions his interests seem decidedly darker with an obsession with eroti- cism and the nature of the unconscious. In he explored his interests in pain and pleasure with a documentary on dominatrixes.

Bound for Pleasure. Bound for Pleasure ex- plores the works of BDSM through a series of interviews and dungeon sequences by respect- ed dominatrixes. It is fascinating to see these characters and how they range from the well informed and educated to the more suburban and well, the downright weird. Some play the bitch role while others are the domineering mother. We are also introduced to a range of practices including bondage, whipping, caning, latex, het- erosexual anal sex and so on.

There is also a discussion of transvestism in a bondage con- text. It is a sexually explicit documentary but is clear- ly focused on being informative rather than simply being for titillation. A small number of submissives are also inter- viewed to offer some understanding from those who are on the other end of the practice.

More recently, he has released Transfigured Nights , a documentary about the world of web Rubber Fetishism in Transfigured Nights cam mask performers. This is a world of cyber personalities and hyper sexuality, where a di- verse range of individuals take on new per- sonas for their web-based performances. We met the Rubber-encased, Gas-masked More Rubber Please Sir, the hog tied and large breasted Hog-Tied and the ex-Vietnam Vet who is now Miss Piggy who dresses in frocks and wears a pig mask while having a very good time.

This is an unusual film created primarily from internet sources and is the only documentary exploring a new world which takes a huge leap beyond virtual characters and role playing games or MMO such as World of Warcraft. Here you literally become a new character in the safety of your own home and beam it to the world.

This is a cyber-character taken to an ulti- mate degree. This is a strange, wonderful, bru- tally honest, and at times, shocking doco. Blyth is now working on Wound, a supernatural Horror Film. Set against a backdrop of Internet web cameras, it explores the dark worlds of mental illness, incest, revenge and death.

Wound is a reinterpretation of the Demeter- Persephone mythological story a mother hav- ing to save her child from the clutches of Hades. We follow the ghostly Tanya as she searches for the mother she has never met - Susan who gave her up for dead after being abused by her own father.

After committing suicide, Tanya re- turns to confront and possess Susan with all her deepest fears and desires, sending Susan into a state of madness and gore-filled retribu- tion. Ed- ward Muybridge filmed nude men and women in his earliest test moving films of The first kiss on film is attributed to the Edison Ki- netoscope short film The Kiss It scan- dalised the Catholics enough that they de- manded that their standards of morality be en- forced.

Censorship was introduced. The earli- est erotic films often had pretences of artistic merit, featuring women in natural or artistic set- tings and apparently demonstrating the beauty of the female form at one with nature. Or some- thing along these lines. The cost of production and projection equipment kept the market very small for many years. In Annette Keller- man appeared nude under a waterfall and this sort of licentiousness stirred things up again.

The calls to Do Something About It began to increase. The filmmakers faced a dilemma - voluntarily control their profitable film themes or face enforced censorship. They chose voluntary control. From the s any erotic values in mainstream filmmaking in the United States were controlled by the Hays Code. Since the U. In fairness to the Hays Code it also included prohibitions on depictions of murder, cruelty to children and animals, ra- cial slurs, violence and drugs.

Thus we had the strange convention in Westerns that in a gun- fight the shooter and the victim were not to ap- pear in the same shot. The shooter would shoot, then the film cut to the victim who would be hit. During World War II the technology of film took a huge leap. Partly this was due to the need for inexpensive field cameras to take propaganda footage, partly due to the development of cheap gun cameras to film aerial combat and verify the number of kills claimed by pilots.

Af- ter the War this translated into the inexpensive 8 mm film and cameras designed for the home market. In this was simplified to the even less expensive Super 8 format. They followed the style of the ar- cade peepshow so popular with servicemen and young lads during the War. Typically they were short three to five minutes , black and white without sound, and featured young ladies rolling around on a bed. Sex was never shown. Sometimes a more lavish production would change to a different shot in another room.

These peepshows were never intended for pri- vate distribution but somehow some found their way into private hands. This compilation film has some excellent examples of the genre. A further interesting collection in this vein is the American Nudes series from Cult Ep- ics. It offers another rare peek into the history of American erotic cinema. Volume One features a com- pilation of short nude films produced in the 's as Hollywood Beauties, in addition to nudist camp films and underwater films.

Volume Two features a com- pilation of short films from the 's starring wrestling women and exotic girls, outdoors and in the home. Volume Three, exclusively in this three disc set, features a compilation of soft and hard-core films from the s and s, a celebration of boy-girl, girl-girl, and couple action.

As Super 8 moved into the market in the late s and early s, with its options of sound and colour, producers began to produce more elaborate films. They were still limited to around ten minutes the length of a Super 8 reel and sound was rarely used even though the specification for the film allowed it.

In the previous issue there is a review of Sleazy Stags, another compilation that shows this type of stag film. Sex was now included, indeed ex- pected, and the films started to lose some of their quaint look and move more towards por- nography than erotica. The Hays code was still acknowledged by the industry, so we had that dreadful run of charm- ing, innocent and absolutely boring films star- ring the wholesome likes of Doris Day.

S market. This, of course, ensured its success. In the face of reality the Hays Code was finally abandoned in the late s. At this point we should probably examine the difference between erotica and pornography at that time, since the difference was becoming more pronounced. Even though God never seems to have expressed an opinion on erotica in film, the Bible-thumpers were absolutely sure what He would disap- prove of. Nudity from behind was frowned on. Frontal nudity was absolutely unacceptable.

Any depiction of sex was pornography, regard- less of the context. As a result the stag film remained firmly underground, to be viewed in the garage with a few drinking mates. During the early Seventies serious adult film did achieve a level of theatrical release in what came to be known as Grindhouse cinemas. These cinemas, usually in the sleazy end of town, released a diverse range of sexual and exploitation content. The most successful title of this period was Deep Throat ' Mean- while the wowsers still claimed the high moral ground as they had for decades, and they were going to keep it.

In the late s home videotape ar- rived. It was the liber- ating factor for home viewing of film erotica. With a huge and rap- idly growing market many professional filmmakers moved into the genre. These were full length features with good plots, professionally filmed, even well acted. Sex was a part of the content but it was tied into the plot, so the films are better classified now as erotica rather than pornography.

We reviewed their Black Venus a few issues back. Many of these films made it out of the private market and into main- stream cinema distribution, but usually as late Synergy Volume 3: No. In this time slot they attracted little adverse attention. Even the odd parts of erotica were being explored, such as fetishism see the separate article in this issue. Exploitation films became a separate genre.

Other countries adapted casually to the new mo- rality and started to ab- sorb erotic themes into their own films. In some cases they adapted quite enthusiastically and so Australia pro- duced such cheeky films as Alvin Purple - happy, inoffen- sive and a bit of a laugh. Even the British had a go at including sug- gestive themes in films like Percy , a film about a penis transplant.

With the rest of the world quite content with a bit of erotica in their films, it left the United States strangely out of tune. With the money to be made from erotic films it was inevitable that quality would fall and the exploiters would enter the market. Actors were now rated on how well they could ejacu- late on command, not on their acting ability. The emphasis was on gratuitous sex, not plot. This strangely American fetish gave the wow- sers the opening they needed.

Banning a film in one state did not stop people buying by mail order, so laws were passed that restricted the U. Postal Service being used to send pornographic materials. The Internet offered a new distribution medium, but at this moment there are religiously-inspired political debates, not about whether what peo- ple send or receive on the Internet should be censored, but about the best way to do it.

The list of banned sites will be secret. Singa- pore and China already have such a system in place and in China it is used to restrict infor- mation on political subjects such as the Tibetan independence issue. Does it really matter? Modern erotic films have become stilted and formula ridden and have little particular artistic merit. The same can be said of Disney Studios kids shows, though.

The erotica films depict sex acts in glorious living colour with full detail. So do David Attenbor- ough nature documentaries. Erotic films may depict violence, unusual and perverse acts and antisocial behaviour. Have you watched the TV news lately? The old problem of defining porn is a minefield and politicians should beware of walking into it no matter who is telling them they must do it.

The politi- cians and their religious supporters are simply on a power trip and they will not accept that these films are just depictions of people enjoy- ing themselves. Out of interest we have included in this issue a review of , a typical modern U. Erotic acts are now quite acceptable in mainstream cinema as a part of normal human behaviour. Perhaps I should point out that Love Story , that most boring and inoffensive film, actu- ally features people kiss- ing!

In many cases the films are more realistic re- flections of life than, say, a murder mystery or a war film. There is of course the seedier side of erotica in film. Much of this appears in the hor- ror genre. Although sometimes it is a vital part of the plot it is often emphasised for shock value. Even the shock value is wearing off these days, forc- ing producers once again to concentrate on traditional values like plot and acting.

In more recent times films such as Irreversible , 9 Songs and Anti-Christ A scene from Making Love have included explicit sex scenes but within the con- text of a traditional film narrative. That is the essential point. With changing values what was once regarded by some as pornographic is now regarded by the majority as simply part of life. Those who complain about declining moral val- ues are not only working in the face of public opin- ion, but they are fighting against something that probably never existed.

Urging censorship is simp- ly trying to impose your repressive views on oth- ers by legislation where persuasion has failed to convince. There IS a place for some sort of censorship over film, but not control. In an advisory capaci- ty censorship could have its value. The viewer has a right to be informed if what they are go- ing to watch has content that may offend them. In a Truth in Rating system, for example, AO could now mean that the film contains adult themes and may not be suitable for the kiddies.

V would be for violence, a matter of in- creasing concern. ST would be Supernatural Themes to cover areas like vampires, zombies, religion. Creationism and other non-provable themes. None of these would be banned, since such a ratings system would be simply adviso- ry. It would be up to the viewer to decide if it was worth watching, according to their own be- liefs or preference.

At Synergy we have deliberately not reviewed some films such as Chaos because of their complete lack of entertainment value. Chaos is a particularly violent film with little plot, but even it would fit into this advisory sys- tem. The ones who try to push censor- ship on us are denying reality.

Since the film industry largely reflects life, it will also at times include erotica. Her childhood was marked by a free and open approach to sexuality and she soon came to identify as a lesbian even though she likes to avoid defining herself by her gender or sexuality.

She studied literature and politics at Philipps-University, Marburg and in the mid- seventies she began working with video. At the same time she founded Hyena Film Pro- duction with Elfi Mikesch and began produc- ing, writing, and directing independent feature films. Seduction: The Cruel Woman marked a radical change in queer cinema in that it broke new boundaries exploring sexuali- ty in a psychological as well as erotic context. All of her films have been significant within the exploration of feminism, lesbianism, gender including transgender issues and Sado- Masochism.

She has the ability to create films which combine a deep and insightful under- standing of sexuality with a powerful sense of style and cinematic technique, as well as a good dose of play and humour. In she formed Hyena Films, Hamburg which con- tinues to operate today. This is reflected in the unique way she explores characters in all of her films and documen- taries. Monika Treut has a fondness for hyenas. You could almost call it a fellow feeling.

After all, in hyena society, the female is dominant and moreover, these are beasts which survive by Monika Treut as female and male scavenging for scraps, fearlessly standing up to larger predators for a share of the spoils. Such is the life of an independent filmmaker.

When, in , Treut and Elfi Mikesch, one of Germa- ny's leading cinematographers and directors, decided to set up their own film production company, what else could they call it but 'Hyena Films'? In truth, though Treut has a fearsome reputa- tion, she hasn't quite grown a full set of canine teeth.

Indeed, she is much more the survivor than the tearer of flesh. For many years, she has worked to the point of exhaustion to carve out a niche as an international filmmaker, writ- ing and directing all her films, raising the pro- duction finance herself, editing, promoting and even, on occasion, distributing the finished product. The Cruel Woman is consid- ered one of the most significant films exploring female dominance and the nature of power and sexuality.

It certainly uses eroti- Synergy Volume 3: No. It is a surprisingly com- plex film focusing on the interrelation between sex, emotion and power within all forms of relationships using superior character development and excellent perfor- mances to tell the tale. A rather young Udo Kier is brooding, beautiful and credible in his role as the love smitten masochist.

Seduction :The Cruel Woman emphasizes the psychology of both Sadism and Masochism while sustaining a highly erotic presentation. This balance between narrative, sexuality, style and character is remarkable. It is erudite and reflective but also pro- foundly beautiful.

At times it feels like a giallo or European style thriller, filled with mystery and intrigue yet also packed with love and lust. Here audiences pay to watch her shows where she creates set-pieces involving the domination and humiliation of her male and female slaves. While Wanda seems to be in control, there is a blurring of the line between her work and her private life and traditional boundaries between what she does for a living and what she does in private do not exist.

Her life begins to change as she leaves her lesbian lover a shoe fetishist for SEDUCTION; The Cruel Woman Udo Kier in Seduction: The Cruel Woman a new apprentice; worse she has to contend with the eruptions of emotion from her male partner who has gone beyond the rules of their life together and fallen in love with her.

The gal- lery becomes a centre for sexual, gender and emotional exploration but also pushes the boundaries of each participant as they have to reconcile their emotions with their desires lead- ing to explosive results. Female Misbehaviour is a series of short films including Annie, Bondage, Dr.

The series opens with a sequence of short films exploring radical women who take a new approach to eroticism, feminism and sexuality. Annie documents the life of Annie Sprinkle; porn star, feminist and sexual explorer. We see how Ellen Steinberg transforms into Annie Sprinkle and brings a new dimension to sexual performance combining explicit sex shows with sex educa- tion.

A veteran of literally hundreds of porn films she discusses her life and shows us a dif- ferent side to the sex industry. In Bondage we explore the world of women who use leather and bondage not only as a sexual outlet but as a socio-political statement. Paglia explores the fascinating interplay of the personal and the academic in the life of Dr. Camille Paglia. Paglia, a radical lesbian feminist academic is provocative, confronting and brutally honest.

In Max we meet Max Valero, a fe- male to male transsexual who not only tells us his life story but introduces us to the fluidity of gender and sexuality. She vanished after a small number of highly successful films and controversial affairs and resurfaced as a domi- natrix in New York in the Eighties, where she continued her exploration. Her wild life included all manner of affairs, drug running, sexual ex- Synergy Volume 3: No. In Virgin Machine Treut takes an artistic ap- proach to sexual and gen- der exploration offering us a film which explores many of the themes found in her documentaries.

When she decides to explore her dreams she finds San Francisco a hotbed of sexual exploration, love and lots of lust. It is a brutally honest portrayal of revolutionary sexual- ity, gay, straight and somewhere indeed with lots of great dialogue and a stylish black and white presentation.

Gendernauts is a fascinating exploration of the fluidity of gender and sexuality. Broadly this group is called transgender, meaning those who transcend traditional gender roles. Gender roles are both genetically defined and social constructs and throughout the film we are made to consider how we understand what is male and female.

The diversity of the transgender spectrum is vast including intersex individuals who are born with both male and female genitals , pre- op and post-op transsexuals and gendernauts who decide to move beyond their birth gender. The various means of transition are also dis- cussed with an emphasis on both hormones and social roles. This documentary explores these new horizons through a range of fascinating individuals in- cluding Sandy Stone, an academic in gender research, Annie Sprinkle, porn star and sexual explorer and many others.

Each discusses not only their own story of shifting identity, but the way in which this transformation informed their lives and work. Gendernauts is insightful, thought provoking and very informative. It is also quite typical of the current American style of this genre. Its qualities include high pro- duction values that would be the envy of many an independent filmmaker - professional light- ing and scripting, Dolby 5.

It even has a plot, far more than many of the current sex exploitation films. A virulent plague has made sex just about extinct, so people must gain satisfaction with sex androids or by mastur- bation. The porn film industry is doing well in these times, providing visual stimulation for the do-it-yourselfers.

They use androids for their sex scenes but something is missing. This would be a credi- ble plot for a standard science fiction film, but in this genre it is purely a link between the sex scenes. These are fairly conventional if com- prehensive and frankly they are extended to the point that they become rather boring after a while.

They are accompanied by a thrash guitar track that is simply dreadful. Some of the boredom is made up for by the continuity and other lapses in the film. Then there is the Incredi- ble Disappearing Condom. The U. Surgeon- General has apparently recommended that in the interests of reducing the spread of sexually transmitted disease, actors in porn films should set a good example and wear condoms. A porn actor, Ryan, tries out the prototype and is impressed. Although it has a substantial memory capacity it has only been programmed for one thing.

Ryan spends time with the an- droid teaching her about the human world and gradually she starts to understand human emo- tions and behaviour. Unfortunately the Inventor was working for one of the android firms. Real Dolls International, when he invented the android. Ryan must now steal her back, since he is falling in love with her as she Scenes from Wicked Films The women all have that glossy plastic look that can only be achieved with large amounts of sili- cone and Botox.

Some of the human actresses appear more plastic-looking than the android. They also, of course, wear ridiculous high heeled shoes during sex - a fetish that appears to be peculiarly American. As befits a higher-budget film. Wicked has in- cluded two DVDs of extras with deleted scenes, interviews and all the usual bits. It was called Abducted by the Daleks until the BBC and the estate of Dalek inventor Terry Nation took exception to the name and threatened le- gal action.

Although it is unmistakeably British, it has been disguised to look more European by giving the actresses European-sounding names. The plot is about as basic as they come. A group of disco dollies on their way to a night club hit an alien on a lonely road in the middle of the forest. There is a serial killer known to be lurking in the forest. He skins his victims alive. Faced with this, would you a stay in the car or b walk along the road hoping someone will come past and help you or c strike off into the forest in your high heels and brief dresses, in search of who knows what?

C of course. While going through the forest, only stopping to strike an occasional pose, most of the girls lose their clothing for one reason or another. The Daleks want to find out more about Earth people to see if they can con- quer the planet. She finds herself naked in the middle of the forest in the middle of a cold night, with a serial skinner lurking somewhere. Would you a run like hell and get away from the place or b find clothing and a weapon or c apply lipstick?

And just as naturally the serial skinner finds her and ties her to a tree. He is about to do what serial skin- ners do when he is attacked and killed by an- other alien - the woods are full of them tonight. She escapes and goes to the local police, who seem strangely unwilling to give her any cloth- ing or even to take her story seriously. It mercilessly pinches bits from other films. Even the door in the Dalek ship opens with a Star Trek-like sound. The spe- cial effects are awesome for their total lack of believability.

At least the girls are quite attrac- tive, and you get to see a lot of them. The cos- tume department must have drunk the budget. The DVD also has an alternative version of the film with all the out- takes left in. Here we can see that the film is definitely British as the girls fluff their lines re- peatedly. It has a couple of great moments like the time when the girls are handcuffed to the wall full frontal, of course and about to be killed by the Daleks.

One girl takes her hand out of the restraint, scratches her pussy, then puts her hand back into the restraint. Erotic, sensual and explicit, it is marked by an excellent plot, lots of character development and excellent cinematography. Al Oliver plays Elio, a well to do trader and soldier who after winning a bloody battle in Africa is required to take the Ab- yssinian princess Zerbal as part of the booty.

Not that he seems to mind too much, the prin- cess is played by the beautiful Laura Gemser. Elio returns home to write his memoirs to find his home life is rather complicated. His wife Al- lesandra is insatiable and having a lesbian affair with his secretary. As Zerbal con- trols Allesandras desires, she is able to plan her revenge against Elio who brought about the death of her brother and brought her to Italy as a slave.

This is an impressively intelligent work of eroti- cism. The character development is superior with a fascinating interplay between Elio, Al- lesandra, Zerbal, his secretary and the garden- er. The way in which desire is manipulated as a form of power and domination gives the film an unusual texture and is matched with excellent dialogue, superb sets and seductive cinematog- raphy. All the women are beautiful and sexuality is explicit throughout the film. There are all sorts of erotic scenes set in all manner of unusual contexts, the nastiest scene being a faux inquisition nun scene which Elio creates but Zerbal manipu- lates for his stag film.

Severin has done an excellent job by present- ing a totally uncut and uncensored edition of the film, the picture is very clear with an excel- lent score by Manuel De Sica. The English mono track has no problems and the dialogue is clear. Compared to ay other releases f this film, this is vastly superior. Nuns and Revenge!

It was Directed by Jacques Scandelari. Yalo Fred Saint-James is the master of a great French castle where he runs a community based on free love. He rejects the bourgeois morality and religious peccadillos of the outside world and trains his disciples in the way of pas- sion. There is even a wild man named Varlac who is kept locked in the basement and only occasionally let out for a wild sex hunt.

All are presented with a uniquely Euro style matching excellent cinematography with eroticism, scored with a Jazzy Sixties soundtrack. Yalo has met a beautiful young woman named Xenia whom he slowly trains to be free of her taboos and enter into his cult as his wife. How- Erotic massage with squid!

Sex cult leader Yalo ever, a previous lover, Zenoff Lucas de Chaba- nieux , soon arrives on the scene and with the voice of morality and tradition stands against the perversions on show. Soon, however, he realizes that Xenia is happy with her lot. Frus- trated by what he sees, he tries to get Xenia to escape and when lost in the forest, loses con- trol and ravages on her wedding night.

They return and she is married to Yalo in a pagan wedding rite accompanied by a ritualistic orgy. Beyond Love and Evil is a fascinating cult cine- ma romp filled with all sorts of weird sexual set- pieces ranging from horny fox hunts to an erotic rub-down with squid. It has a well-developed plot which combines a call to hedonism with a pan-sexual pagan worldview which is also nota- ble for its quirky philosophical dialogues.

The outfits are suitably late Sixties with every- one looking like Hippies with wigs and wild make-up; there is a sense of play and humour which makes even the most bawdy scenes more fun rather than exploitative. Many see Beyond Love and Evil as a significant work of cinema since it was the forerunner of the erotic cinema of France in the Seventies. It is funny, witty, superbly made and above all, lots of fun. It seems that the Countess Bathory, one of the great beauties of all times was a also little un- hinged.

She found her an- swer in an alliance with Count Dracula. However, things are not all that happy, Mrs. Dracula finds herself rather bored and wants to return to the good old days of the Bathories, of which she has lots of fond memories. These memory se- quences are especially impressive with lots of sex, blood and eroticism, they are very nicely done as indeed is the cinematography through- out the whole of blood Scarab.

Disaster strikes as Dracula has been a little too pre-occupied with young girl flesh and while watching his next intended victims, Tanya and Mina, he loses track of time Renfield being too occupied with bug catching , and is destroyed in classic style by the rising sun.

This time Bathory has had enough, he has been killed once too often! She is now freed from Dracula cramping her style and decides it is time to whoop it up. There are lots of great scenes of lesbian love, blood drinking and more. Indeed it should be said the lesbian love scenes are highly charged, combined with evocative music, great lighting and superior filming. The soundtrack throughout the film is also superb ranging from classic horror soundtracks to Goth rock and pop.

Very sexy vampires in Biood Scarab With a lot of partying and feeding to make up for she is rather annoyed at being only able to feed during the night. So she sets Renfield on the task of discovering the means to achieve immortality during the day. This leads to a great intersection between vampires, mummies and Egyptian occultism. What a combination!!! It seems the year- old Mummy of Hor-Shep-Sut has walked out of a local museum and is actually the shell of an ancient lesbian sorceress from Egypt.

This leads to a great Egyptian flashback with all the pomp one would expect from an Egyptian Hollywood scene. It ends with a rather nasty embalming for Hor-She-Sut for seducing the Pharaoh's daughter. After a rather feisty love scene, she is captured, locked in a funerary mask and her heart pulled out and stuffed in a Canopic Jar, her body is left in an unmarked coffin.

A secret ritual unfolds with Renfield at his dod- dering best, Hor-She-Sut explains to Bathory how she can become immortal in the sunlight. However, as one might expect, two major God- desses are going to have some girl problems! As Bathory becomes a daywalker and Blood Goddess, Hathor steps in for a bitch fight. This Synergy Volume 3: No. Blood Scarab is cracking entertainment. It com- bines vampires, lesbians, beauty addicts, mum- mies and Egyptian Goddesses in a way which is a homage to the old world of Hammer Horror and classic Hollywood cinema.

It includes motifs and images from so many films, all mixed to- gether in a new and vital way to keep you chuckling, amused and entertained for every second of the film. The cinematography is excellent; the special effects are cheesy but of high quality and the sets are amazing.

This may be a moderate budget film but it has been made to look top notch and is a joy to watch. The music, mood and texture of the film is great, the actors are all superb ranging from the cackling Renfield to the various menagerie of barely clothed woman. This is a film you will enjoy again and again, it has everything you need - sex, gore, lesbian love, vampires, mummies, fantasy, Egyptian Gods and more.

It is also packed with special features including a commentary track with director Donald F. Glut and stars Monique T. Parent, Del Howison and Natasha Diakova. An original trailer, a compre- hensive making of documentary, deleted danc- ing handmaidens scene, a theatrical premiere video, interviews.

It is a hilarious and horny tale about tat- toos, being a female entrepreneur in a male- dominated world. This combination of a well written story with good plot, amusing characters and a great sense of humour adds something extra to the XXX content. Scenes range from masturbation, lesbian action, group scenes, individuals scenes and quite an im- pressive orgy at the end of the film with five beautiful women.

There are some eight hot sex scenes in all. The sex is enthusiastic and I like the way that these wild girls are always in con- trol. They are willing to push the envelope and explore beyond the mainstream and offer titles which are both highly erotic but controversial and different.

In my mind what they offer is a significant devel- opment in erotica, too much mainstream porn is formulaic and features plastic looking models with little to no plot and no humour. The story is about Joanna Von Angel who is a world-renowned tattoo artist and runs the L. Pink Tattoo parlour. She has hired some of the sexiest artists in the industry to be part of her staff, all of which play hard as well as working hard.

The way he slowly transforms from a genuine businessmen into a would-be dic k tator is gen- uinely funny. Alice and her husband are on holiday in the Ca- nary Islands. While she is having a very relaxed time, her sleep is regularly disrupted by vivid and recurring dreams about a beautiful and se- ductive black woman known as Tara. In the dream she is both attracted and terrified of Tara who seems to wander the beaches on a local island with two naked slaves and then dies with a strange idol between her legs.

Her holiday is interrupted by a phone call from her employer asking her to visit a client on a local Island who wishes to buy a property. She is reluctant to break her leisure time but being offered a nice percentage of the sale reluctantly agrees to take the commission. The journey to the island is unconventional and includes a boat trip on a old style ship and a journey by camel. Pink is that it works as a conventional film.

The acting is solid, the filming excellent and the depiction of a reali- ty TV very credible. The quality of the DVD is excellent with a great soundtrack, the theme music This is my Anthem by Shiragirl is pretty cool too. This is a very innovative adult film which has the best plot and acting I have seen in a XXX film. It is creative, amusing and, of course, very horny. There are four trailers, website info and a photo gallery. The behind-the-scenes documentary is loads of fun and continues the great sense of humour found in the film.

Soon she is seduced by Obongo with the help of her naked slaves Poppy and Tulip and beings to experi- ence a new world of sexual abandon, voodoo Macumba and sorcery. On one level Macumba Sexual could be seen as a eccentric adaptation of the Dracula story. But this sells the film short.

It places emphasis on texture and atmosphere, rather than on narrative. Indeed there are long periods in Macumba Sexual when hardly a world is spo- ken and it is the images and flesh which do the speaking. It is amazing how Franco is able to use naked bodies in a way that communicate something beyond the traditional confines of nudity and sex. There is a powerful mood to the film created by some truly beautiful locations, evocative music and the sheer eccentricity of its major charac- ters.

Ajit Wilson as Tara and Obongo is a tall, beauty dark skinned woman who was a famous transsexual porn star. She has a certain gender variance which gives the film an eccentric feel, she is both very beautiful and a little disconcert- ing. Lina Romay who plays Alice is a stunning blonde and the juxtaposition of the tall dark skinned beauty and the short voluptuous blonde works well throughout the film. Both spend most of their time out of their clothes and even when dressed show off their bodies as much as possi- ble.

Macumba Sexual is brimming with nudity, eroti- cism and sex. It is certainly explicit and at times borders on hard-core but never becomes a sim- ple porn film. I t is a textured surreal exploration of voodoo and sexuality and creates an pervasive mood and atmosphere. Photographed in Techniscope by Juan Soler off the coast of Spain on the island of Gran Canaria it is visually stunning.

Filled with eroticism and sex. Brimming with dreams, nightmares and visions. It is a very unusual ex- perience. Hubert Breast Tommy Pistol. Of course they are both covered in blood and goo and the film has a very messy look combin- ing horror with lots of sex in various positions. It is actually quite amazing to see such an outra- geous gore ridden horror short combined with such wild bonking! It should be noted that the film is really only a short and clocks in at 20 minutes, but a fun twenty minutes it is!

Each of these new releases have been ap- proved by Carter Stevens himself. Stevens ap- peared in over 50 adult films most under the name Steve Mitchell between and , and directed about 40 films between and His first films appeared just after the mass mar- ket success of Deep Throat and brought together hard-core action with interesting char- acters, some degree of plot and even a good sense of humour.

P Lovecraft and explored how suppressed sexual desire would begin to sprout forth and take control. It is a surreal and strange film, which is both sexually adventurous and complex. They have been digitally restored from the only remaining film elements.

The Collegiates focuses on hot and heavy hi- jinks as a group of horny college students con- spire to help their uptight roommate lose her virginity. The Hot Oven answers the immortal question What goes on when the delivery boy adds a few erotic ingredients to the sauce they put on the pizza? Developed from a script by Wesson Smith, a pseudonym for a friend who later went on to have a career in television, it stars Jamie Gillis and Eric Edwards.

Since Stevens was charged with obscenity in November the film origi- nally gave everyone pseudonyms ending with Jones or Smith! Mount of Venus: If Greek mythology bored you in school, time to take a crash course on what really happened on the horny heights of Mount Olympus. A fantasy type adult film with an out- rageous sense of humour, it was originally shot under the working title Up the Greek, it starred Georgina Spelvin who had made her name in The Devil in Miss Jones so was a real winner.

Other members of the all-star cast included Ja- mie Gillis and Eric Edwards. P Lovecraft, it is com- plex, plot driven and surreal. It is certainly hard- core but offers a very creative and intriguing tale. Starring Carter Stevens, Lauraine Alraune with a special guest appear- ance by the notorious larger than life Marc Ste- vens. These films were churned out by the hundreds. The bulk of the film was shot indoors with occasional stock footage street scenes to set the location. Plot was largely irrelevant and the action in each film was fairly conventional once they got down to it.

Grindhouse took film erotica into the cinema mainstream by the back door and led to the production of better quality films like The Devil In Miss Jones and Debbie Does Dallas. Many foreign imports exposed viewers to film from countries where there appeared to be no sexual hang-ups about this sort of thing.

The viewing public no longer accepted being told what they could watch. Eventually the better films were issued on videotape and by the 90s Pete Grindhouse all but disappeared. Or did it? This set contains four typical films on two DVDs and gives an excellent idea of the genre. These days they would at best be regarded as quaint, but you can still see what the attraction would have been for the dirty raincoat brigade back in the 70s. The actors and actresses are completely natural about what they are doing and there is a notable lack of silicone.

There is an abundance of pubic hair and a lack of that superficial plas- tic-looking gloss prevalent in current porn ac- tresses. Grindhouse reflects the changing attitudes to sex during this period. These attitudes led to the inclusion of more erotica in mainstream film as it came to more closely mirror real life. It also split off in another direction to lead to the multi- million dollar adult industry of today.

A characteristic of the Grindhouse cinemas was that they just kept on rolling film after film throughout the day. We should be grateful to Pete for his selfless sacrifice in bringing these films to us. Well done. Another day at the office! It is essentially the story of a cat-house or brothel in action with a jazzy sixties music score and a very bizarre commentary which is laden with double-entendre. Fat Mama is the pound madam who has a pixie hairdo and a colourful, if not gaudy dress which is way too short.

Her cat-house has four lovely girls and is suitably named The Obscene House. The constant commentary is strange attempt at humour, presented in a semi-business like tone it explains the basis of the business and how these girls are the future leaders of the indus- try. Before the customers arrive the girls must make themselves presentable as well as help- ing each other loosen up. The girl-on-girl action is some of the least credible I have ever seen!

It is truly hysterical. In one scene the girl can- not even bring herself to lick the other girl and runs her tongue a good inch in the air above her body, somehow this is enough to throw her partner into fits of orgasmic frenzy.

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