After a chance meeting with avant garde writer Francoise, an elderly millionaire starts to manipulate her life, drawing in equally unsuspecting and happily married Mark. Francoise however ... See full summary »
Juan Luis Buñuel
Adalberto Maria Merli
Following her husband's death, a wife discovers and confronts her husband's lover. Their mutual pain, love, envy and jealousy bring them together in an unexpected emotional and physical ... See full summary »
Jolana (18) is an object of her stepfather's desire. She is unable to cope, especially when her own mother turns a blind eye. Those events are heavily paid for when she finds herself ... See full summary »
From his youth, Paolo Castorini, a Sicilian baron, is as attracted to women as they to him. Giovanna, a servant girl, Lillian, a serious girlfriend in Rome, a hostess at a post-war party, ... See full summary »
Thomas hitchhikes from Hamburg to Munich where he meets his ex-girlfriend, Peggy. As Thomas doesn't have a bed for the night Peggy takes him home, not knowing that she and her four room mates have all made a strange pact.
Richard is a medieval nobleman. After his first wife dies in an accident and is buried in the family vault, he remarries and has children by his second wife. A mad longing for his first wife Leonor comes over him, and he sells his soul to the devil for a chance to get her back. But when she returns, she is a murderous vampire. Written by
Don't expect 70s Eurohorror in the vein of Jess Franco and the like, and don't expect anything ingenious like the efforts of the director's father. It's a loose adaptation of motives by early romanticist Ludwig Tieck, and since there was no vampirism in literature back then, THERE ARE NO VAMPIRES IN THIS MOVIE EITHER! Just Liv Ullman coming back from the dead after 10 years and strangling children. Great locations, good acting, but neither a convincing drama nor a satisfying horror film. But I've seen much worse than that and young Ornella Muti's a treat. And I like the fact that some screenwriters of the seventies got back to classic seldom filmed literature (like Ado Kyrou did in the far superior 'Le Moine') instead of copying plotlines, themes and motives that have been used a thousand times before.
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