Directed by | |||
| Zygmunt Sulistrowski | |||
Writing credits(in alphabetical order) | ||
| Zygmunt Sulistrowski | ||
Produced by | |||
| Joël Lifschutz | .... | producer | |
| Zygmunt Sulistrowski | .... | producer | |
Original Music by | |||
| Beto Ruschel | |||
| Hareton Salvanini | |||
Cinematography by | |||
| Jean-Claude Hugon | |||
| Louis Soulanes | |||
Film Editing by | |||
| Ikswort Silius | |||
Music Department | |||
| Hareton Salvanini | .... | conductor | |
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| Tendres cousines | Bilitis | Metroland | The Crazy Stranger | Time to Leave |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb France section |
"The Awakening of Annie" is an odd film that tries to disguise its true motive, which is to depict sexual violence. Annie Friedman plays the titular character who is frigid from a rape at the hands of one of the ugliest and most truly frightening-looking actors I have ever seen on the screen. She models nude and semi-nude for a photographer and wears the skimpiest of miniskirts but does not seem to be mentally in touch with the fact that she is a latent tease. After fleeing from the aforementioned thirtysomething photographer who tries to have his way with her, she runs smack dab into another, younger photographer who shows her true love barely ten minutes after she tells him she cannot have sexual relations because of her rape experience. Annie is happy at last, but a very unpleasant twist of fate is on the horizon.
The beautiful, sun-splashed photography is totally at odds with the film's overall downbeat mood, and in this way it is reminiscent of a Jess Franco film. This film is very similar in theme to the same director's "Africa Erotica", but "Africa Erotica" has a much more positive atmosphere. Both films suffer from insert footage, featuring naked people bumping and grinding, who have nothing whatsoever to do with the film, and in "Annie" these inserts add fifteen minutes to the running time! This is truly a film for those who enjoy this highly exploitive, misogynist type of 1970's fare. While I will never reveal the ending, it is so unpleasant that today's sugary-sweet multiplex audiences would never be able to stomach it.