At the Doll House, a 1930's New Orleans bordello, Hallie is the main attraction both for clients and for Jo, the madame. Her comfortable if tedious life is disrupted by the arrival in town ... See full summary »
Victor Vautier is incorrigible: he's in constant motion, working several cons at once, using different names and changing disguises. He's charming and outrageous, incapable of uttering a ... See full summary »
The head of a failing French family thinks that fate has smiled down on him when the daughter of a wealthy man agrees to be married to his son. The daughter and her aunt then travel out to ... See full summary »
A young husband's sexual fantasies frighten his new wife and cause her to seek advice from Carmilla, a descendent of Mircalla de Karnstein. Carmilla seduces the young bride and forces her ... See full summary »
Set in '50s Spain, a young man (Sanz) leaves the army and looks for a job so he and his fiancée (Verdu) can get married. He rents a room from a widow (Abril), and shortly begins a torrid ... See full summary »
Luis, an aging Falangist author with guilty conscious, is writing fake memoirs. Two reporters, his niece Mariana and her lesbian friend Elmyr, arrive to do a piece on him. While fact-checking his memoirs Mariana becomes attracted to him.
Carlos (Andre Argaud), a well-do-do publisher and family man, receives a severed hand in the mail at work and buries it before going home but once there, his beautiful wife (Theresa Gimpera) reads him a telegram asking if he'd like a forearm. Carlos makes up a lame, work-related explanation but now suspicious, she follows her husband and spots a mysterious woman in black following him as well. That woman is Parker (Capucine), whose lesbian lover, Esther (Judy Matheson), was once Carlos' mistress who never got over being cast aside. Esther committed suicide but Parker kept the body and, holding Carlos responsible, devises a complicated plan to have him framed for Esther's murder...
THE EXQUISITE CADAVER is a slick, stylish, and very strange Spanish soap-opera with a decidedly Feminist agenda. Some unusual directorial touches, lyrical cinematography, and a somber jazz score by Marco Rossi give the film an Art House air that blends easily with the glossy grisliness of a few grind-house plot elements. The beautiful Capucine is coolly elegant as the enigmatic avenging angel and the secret bond all women share can turn the tables on a "common, ordinary Romeo not worth the pain he caused". A very unusual but not uninteresting film if one goes in with no expectations but it's usually marketed and sold as either a Giallo or horror film, so there's bound to be disappointment in some quarters.
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