Christine (Sandy McLeod) takes a job selling tickets at a porno theater near Times Square. Instead of distancing herself from the dark and erotic nature of this milieu, she develops an ... See full summary »
Richard M. Davidson
Known to her clients as Dagmar, she's a classy Swedish call girl in Copenhagen. After two years, she's ready quit, and we follow her on what she hopes is her last day in the trade. She ... See full summary »
Vernon P. Becker
Anne Grete Nissen
A bored teenage girl decides that she wants to meet rock stars, and the best way to do that is to become a groupie. She finds herself going on the road with a rock band called Opal ... See full summary »
A team of researchers travel into the African jungle to study the mysterious disappearance of elephants in the area. Instead they discover a tribe of voodoo-zombies who rise from the ground... See full summary »
As each relentless night turns towards day, Ernest Rackman turns towards violence to escape thoughts of loneliness and suicide. Then he poses as a police officer and rescues a young girl ... See full summary »
When Max, a young poet hires a marketing company to turn his suicide-by-jumping into a mass-media spectacle, he finds that his subversive intentions are quickly diluted into a reactionary ... See full summary »
In the development stage the title for this truly dispiriting film was Suzy Superscrew. Better had it been kept for at least it gives you an idea of where the action is heading. Suzy is a duffle-coated runaway, arriving in London to join the groupie scene. Unable to score with the band her groupie friend introduces her to, she hooks up with Pogo an itinerant musician and mad preacher. "Where do you live?' she enquires of him. "Under the stars, the world is my scene, man", he responds. Unfortunately the world isn't listening as he gets mown down by a car shortly afterwards. The subsequent narrative is reduced to what band member or groupie Suzy will wake up with next.
The film, shot in a quasi documentary style and was partly intended as a promotional vehicle for heavy rock band Forever More, which accounts for their music being way up in the mix and sometimes drowning out the dialogue. This same logic explains footage of the band performing being inserted whenever the director runs out of ideas, which is often. On the plus side the relentlessly downbeat tone does provides a telling snapshot of the fag-end of the sixties and a particular sub-culture, while at the same time maintaining a grim synergy: hairy men and ugly women having bad sex together in cheap hotels to a Forever More soundtrack. Just desserts are sometimes delicious.
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