Regie:
Piero SchivazappaScenario:
Piero SchivazappaCamera:
Sante AchilliMuziek:
Stelvio CiprianiActeurs:
Philippe Leroy, Dagmar Lassander, Maria Cumani Quasimodo, Mirella Pamphili, Gennarino Pappagalli, Karen ValentiSamenvattingen(1)
The captivating Dagmar Lassander shines as Maria, a young journalist working for Dr. Sayer (Philippe Leroy), the head of a philanthropic foundation with peculiar views on humanity's issues. When Maria is drugged and imprisoned by Dr. Sayer, she is subjected to increasingly sadistic acts by her captor, but she endures the horrors of her ordeal and unravels her boss's twisted beliefs and vulnerabilities. Using her intelligence and cunning, she shifts the power balance between them in a scintillatingly stylish game of cat and mouse. This hypnotic exploration of passion and power blurs boundaries delving into gender dynamics, dominance, and submission with a provocative and playful approach. Prepare for an uninhibited journey into eroticism, where nothing is taboo, and everything is possible. (Shameless Films)
(meer)Video's (2)
Recensie (1)
This is not about art (despite the depiction of the famous sculpture "HON – en katedral" by Niki de Saint Phalle), but the film still has a lot to offer. It is not directly about the content itself, which can be summed up simply in that the progressing feminization of society triggers a defensive reaction from a chauvinistic and mentally unstable, yet increasingly methodical man who tries to regain control over women by being even more brutal and powerful, considering himself weaker as a man in general and specifically. But it is not really about the content because all the verbal expressions of this cold and intelligent sadist do not sound intelligent at all, rather like the theories of Gen. Jack the Ripper from Dr. Strangelove... Indeed, it is not about the direct content, but about the film as a whole. From its entirety, you can feel the 1960s in a crystal-clear form (but not like in Antonioni's films, it is not art after all...) – the design, music, playful experiments with form, and elegant nudity. The film is also highly self-ironic and variable (although truly predictable towards the very end, but certainly not from the beginning), as few films fundamentally change course after two-thirds of the way through and start undermining themselves and their characters.
()