Plot :
Guillaume de Burlador is a private tutor who hits a low point sufficiently severe for him to
contemplate a somewhat theatrical suicide. Instead he is taken off by flying boat to a mad French colonial possession bedecked by mad servants and crazy decor. Three rather gorgeous women live there,and old Guillaume is a randy old stoat.

A funny variation around Don Juan character.

Nelly Kaplan’s work has been marketed and promoted frequently as soft-core pornography, but that perhaps only illustrates the scarcity of strong women’s voices in world cinema. That scarcity, extreme when Kaplan first began creating films, still exists at the beginning of the new millennium to an astonishing degree. Apprenticed to such dynamic and sensually open French filmmakers as Gance, Resnais, and Truffaut, Kaplan began her work as a director when the first stirrings of second-wave feminism were beginning to be felt. Her films, though often marketed under lurid advertisements, and
given leeringly suggestive foreign titles, were most definitely a part of that movement.

That Kaplan’s films are erotic is beyond question, but they are much more than pornography, and to dismiss them as such is to deny the woman’s voice that speaks through her work. Kaplan’s films are radical precisely because they are erotic and that eroticism is presented from the female point of view and speaks to the female audience. Though some have called her films anti-feminist because they are often blatantly sexual, many feminists have claimed her as a powerful spokesperson because she gives women a sexual voice.

Her first internationally famous film, A Very Curious Girl, tells the story of a town slut,
victimized by the appetites of the local men, who claims control of her sexuality by becoming a prostitute. She not only begins to profit from what she once gave away for free, but begins use the power of her new position to exact revenge on those who humiliated her, turning her staid, patriarchial village upside down. Néa: A New Woman, sometimes more suggestively titled A Young Emmanuelle, tells the story of another empowered victim, this time a young girl whose hypocritical father governs her life with an iron hand. To escape, she begins to experiment with the idea of sexuality, finally writing an erotic novel under a pseudonym. Kaplan, who wrote short fiction and erotica under the pseudonym of Belen, might have tucked some of her own history into the story of Néa’s reinvention of herself. Charles et Lucie, about a couple who rediscover love after they have lost everything else, and The Pleasure of Love, about the lives and loves of three generations of women, continue Kaplan’s trend of highlighting the female experience.

The tone of most of Kaplan’s films is comic and positive, and the transformation of her female protagonists comes when they claim and control their own sexuality. This fact alone made Kaplan’s work notorious in the 1960s and 1970s, and she continues to hold that feminist viewpoint throughout her work. She has been compared to such French feminist filmmakers as Diane Kurys and Agnes Varda, who also began creating their films during the early days of modern feminism.

Kaplan’s documentary work has also been praised, particularly her work about her mentor Able Gance, Abel Gance et son Demain and Abel Gance et son Napoleon. Picasso himself is said to have admired her documentary about his 1966 Paris exhibition, Le Regard de Picasso.

—Tina Gianoulis

1.19GB | 1h 41mn | 640×384 | avi

https://nitro.download/view/D201F40EA688384/Plaisir_d’amour_(1991_-_Nelly_Kaplan)_DVDRIP.avi
https://nitro.download/view/A6F6A244402AB40/Plaisir_d_’amour_(1991_-_Nelly_Kaplan)_DVDRIP_corr.srt

Language:French
Subtitles:English

The post Nelly Kaplan – Plaisir d’amour aka The Pleasure of Love (1991) first appeared on Cinema of the World.

Quote:
“In a tightly knit rural community, Marie and her mother are outcasts, living in a small wood cabin. Marie is exploited and abused by both her employer, a lesbian landowner, and her oversexed male neighbours, who include the town’s mayor and a seemingly respectable shopkeeper. When her mother is killed in a road accident, Marie decides it is time to turn the tables on her tormenters. She starts to make them pay for her sexual favours, and, thanks to her innate talent for seduction, she soon becomes the wealthiest person in the area. In the end, her neighbours decide that Marie is a corrupting influence and contrive to have her forced out of the village. Marie, however, intends to have the last laugh…”

Excerpts from the Cahiers du Cinéma of May 2018, translation below:
Le retour si bienvenu de La Fiancée du pirate sur les écrans coïncide à la fois avec le cinquantenaire de mai 68, la contestation de la domination masculine de #metoo et le débat sur la place des réalisatrices au sein de l’industrie de cinéma. Car en 1969, ce film prémonitoire est déjà marqué par ces questionnements, faisant écho à la légalisation de la contraception en 1967 (une affiche militant pour cette cause orne la cabane de Marie, héroïne du film), au débat sur la libération sexuelle si centrale en 68, annonçant aussi la naissance du mouvement de libération de la femme en 1970 et le manifeste de 343 femmes pour la légalisation de l’avortement dont Bernadette Lafont (inoubliable dans le rôle de Marie) était l’une des signatrices. Or ces questions risquent d’enfermer La fiancée du pirate dans un débat sociologique, alors qu’il s’agit d’abord d’un objet cinématographique passionnant, fruit d’une collocation exceptionnelle entre trois électrons libres du cinéma français : Bernadette Lafont, le producteur et distributeur Claude Makovski (également coscénariste) et l’écrivaine et réalisatrice Nelly Kaplan.

[…]

L’une des particularités du film est la manière dont Bernadette Lafont politise sa propre image de “vamp villageoise”, comme l’ont surnommée certains critiques de l’époque, en référence à ses origines du sud de la France, à son physique pulpeuse et à son audace en matière de représentation de la sexualité. Marie est une femme qui prend conscience de son exploitation à la fois sexuelle, économique et sociale par les hommes qui l’entourent (parfois aussi par les femmes) et qui organise progressivement sa vengeance. […]

Pretty good machine translation:
The welcome return of The Pirate’s Bride to the screens coincides with the fiftieth anniversary of May 68, #metoo’s challenge to male domination and the debate on the place of women directors in the film industry. For in 1969, this premonitory film was already marked by these questions, echoing the legalization of contraception in 1967 (an activist poster for this cause adorns Marie’s cabin, the film’s heroine), the debate on sexual liberation so central in 1968, also announcing the birth of the women’s liberation movement in 1970 and the manifesto of 343 women for the legalization of abortion of which Bernadette Lafont (unforgettable in the role of Marie) was one of the signatories. But these questions risk locking The pirate’s fiancée into a sociological debate, when it is first and foremost an exciting cinematographic object, the result of an exceptional collocation between three free electrons of French cinema: Bernadette Lafont, producer and distributor Claude Makovski (also co-writer) and writer and director Nelly Kaplan.

[…]

One of the film’s peculiarities is the way Bernadette Lafont politicizes her own image as a “village vamp”, as she was nicknamed by some critics at the time, in reference to her origins in southern France, her pulpy physique and her audacity in representing sexuality. Mary is a woman who becomes aware of her sexual, economic and social exploitation by the men around her (sometimes also by women) and who gradually organizes her revenge. […]

https://nitro.download/view/2EE5C634C280E74/La.Fianceee.Du.Pirate.AKA.A.Very.Curious.Girl.1969.DVDRip.x264-HANDJOB.mkv
https://nitroflare.com/view/E4F2043FEC470D3/La.Fiancée.Du.Pirate.AKA.A.Very.Curious.Girl.1969.DVDRip.x264-HANDJOB.srt
Language(s):French
Subtitles:English

The post Nelly Kaplan – La Fiancée du pirate AKA A Very Curious Girl (1969) first appeared on Cinema of the World.