USA

Synopsis:
Jamie Gillis plays successful writer Paul and starving artist Phillipe both living in Paris. He is two people because he must balance a delicate sexual situation involving Frannie and Natasha. What makes OUTRAGEOUS more than watchable is the introduction of these two incredibly gorgeous newcomers to the world of explicit films. They are worth it. Lots of Paris footage and good production… Joey Silvera and Anna Ventura have a hot scene, shot about the time Joey was coming into his own as an adult film major name.Read More »

From peek-a-boo panties to girl on girl petting to more “indiscreet” activities, Stuart’s titillating mises-en-scene challenge us to break loose from traditional moral codes. Also included is a rare interview with Stuart.Read More »

The Budapest department store run by Hugo Matuschek (Frank Morgan) is a happy little society of salesclerks, where assistant manager Alfred Kralik (James Stewart) and salesgirl Klara Novak (Margaret Sullavan) don’t at all see eye to eye. But in secret pen-pal letters they’re madly in love with one another, each hardly guessing who their mysterious secret admirer might be.Read More »

The Apartment is a 1960 American comedy-drama film produced and directed by Billy Wilder, which stars Jack Lemmon, Shirley MacLaine, and Fred MacMurray. It was Wilder’s next movie after Some Like It Hot and, like its predecessor, a commercial and critical smash, grossing $25 million at the box office. The film was nominated for ten Academy Awards, and won five, including Best Picture. The film was the basis of the 1968 Broadway musical Promises, Promises, with book by Neil Simon, music by Burt Bacharach, and lyrics by Hal David.

Synopsis:
A man tries to rise in his company by letting its executives use his apartment for trysts, but complications and a romance of his own ensue.Read More »

Many famous stars began their career in pornography, Marilyn Monroe being one of the greatest examples, who when financially stable declared she no longer had to gratify the sexual demands of studio executives.

A pornographic short film of Hollywood legend Marilyn Monroe recently surfaced in Spain. This grainy black-and-white footage was made in 1947 when Monroe was 21. The American Film Institute, though has denied reports from Spain that it had authenticated the 50-year-old pornographic film purportedly showing Hollywood legend Marilyn Monroe engaging in a sexual act.

As early as 1944 Marilyn Monroe was in Los Angeles modeling and acting and in 1949 posed nude for Tom Kelley in a series of photographs that would later galvanize her image as a sex symbol and fuel her rise to fame. The late 1940’s was a difficult time for Monroe, having lost her 20th Century Fox contract in 1946 she allegedly returned to less reputable means of making money to support herself.Read More »

SYNOPSIS:
Widely considered to be one of the greatest erotic films ever made, “The Private Afternoons of Pamela Mann” is the first hard core film made by legendary director Radley Metzger, under the alias “Henry Paris”.

Made in the golden era of ‘porno chic’ and released in 1974, it was instantly acclaimed as a breakthrough achievement – its witty screenplay, stunning cinematography, and expert direction showing for the first time that an adult film really could approach the level of a mainstream Hollywood film. Set in 1970s Manhattan, the plot follows a private detective (Eric Edwards) employed by Mr. Mann (Alan Marlow) to investigate the sexual infidelities of his wife, Pamela (Barbara Bourbon). Supporting roles are played by the cream of New York adult film stars including Jamie Gillis, Georgina Spelvin, Marc Stevens, Sonny Landham and Darby Lloyd Raines.Read More »

Review
There are a lot of reasons why you might want to watch this classic late-70’s movie. For instance, you can see four-decade stud Eric Edwards in his prime. Or how about Tia von Davis (the pilot’s wife in The Opening of Misty Beethoven) as the mother who prepares a real dinner on the stove for her movie family during the opening credits? Or you can agonize through the stilted dialogue delivery and the cheesy stage set–both seemingly ripped from Boogie Nights. You can even tell just by listening to the familiar porn beat and flute/electric guitar instrumentals that you’ve taken a trip back to the days of disco.Read More »

Quote:
Love Streams is at once a culmination of the director’s obsessions and his most atypical film. It’s a movie that gives up its mysteries slowly—flirting with theatricality, inserting dream sequences, concluding on a brazenly surreal enigma. Cassavetes stars as Robert Harmon, a tough-guy novelist with unorthodox research methods. Rowlands, magnificent as ever, is Robert’s sister, Sarah Lawson, a divorcée who turns up at his doorstep with two taxis full of luggage and an entire barnyard menagerie. An emotional live wire and by default a social rebel, the embarrassingly demonstrative Sarah is kindred spirit to A Woman Under the Influence’s unhinged housewife Mabel Longhetti and Opening Night’s aging stage star Myrtle Gordon: All are women with a raw-nerved, overwhelming capacity and need for love. The enormously moving interplay between Cassavetes and Rowlands gets at the heart of the performative spectacle unique to his films: an interaction beyond words and gestures, predicated on the invention of a shared language so hyperbolic and specific and almost inexplicable it must be love. Indeed, the movie—as its title suggests—performs an anatomy of its subject. More explicitly metaphysical than the other great Cassavetes films, it nonetheless shares their view of love as a way of life and a form of madness.Read More »

Quote:
One of several triptychs showing in this year’s Wavelengths program, Peter Hutton’s Three Landscapes zeroes in on the industrial terrain ringing Detroit (where he grew up), the bucolic pastures of the Hudson River Valley (where he now lives), and Ethiopian salt flats (where he travelled under Robert Gardner’s sponsorship). The most obvious link between the three is labour, but the film functions less as a thesis statement than a poetic meditation, a haiku-like attempt to distill the landscape using a few sparing, echoing graphic forms. The Detroit sequence is the most immediately arresting, its subdued colour palette and precise graphic calculations of grass, clouds, sky, smoke, and industrial architecture leading to a dramatic chain of images of two men inching across a high ladder—a vision of meditative calm in struggle. Workers and clouds are combined to more expressly lyrical effect in a superimposition punctuating the Hudson River Valley sequence, a marvelous bit of photochemical guesswork (albeit one now rendered in DCP projection). If the Ethiopia sequence seems comparatively uncertain about itself, its final long take of a line of camels stilled by distance and heat closes the film with an eloquent appeal to the necessity of limits. After the screening Hutton remarked that he takes special pleasure in those landscapes in which you see clouds moving faster than the workers, a point of view that goes a long way towards restoring the link between the documentary and spiritual connotations of this word “observe.”Read More »