1970s

On the movie :
(Wikipedia !)

Numéro Deux, by Jean-Luc Godard and Anne-Marie Miéville, is a 1975 experimental film about a young family in a social housing complex in France. The film’s distinct style involves presenting two images on screen simultaneously, leading to multiple interpretations of the story and to comments on the film-making and editing process.

The film is divided into two parts. For the first third of the movie, Godard discusses what it takes to make a film (money) and describes how he got the money. In the second part, the remaining two thirds, each character in the story discusses their quotidian experiences through dialogue which is primarily poetic, and secondarily political.Read More »

iMDB:
This rare giallo visibly has a bad reputation all over the planet, and I can’t really understand why; probably because no one has seen it…

Here we have a rich playboy doing boat races, and at one of them he has an accident – his boat shatters and explodes, but he’s thrown in the nearby water and rapidly picked up by the medical crew, and after an operation to the brain returns home safe and sound, with some memory loss and a prescription of calm, peace & love for recovery. However, his surroundings – including luscious Rossana Yanni, constantly mini-skirted and looking ready to seduce – stick to his incredibly designed villa, and the killings begin.Read More »

Synopsis:
A wealthy couple, with a daughter Angela, a young teen who walks with crutches, tells each other they are off for the weekend on business (he to Oslo, she to Milan). Actually, both are meeting their lovers, and both go to the family’s county home, Traunitz castle. Surprising each other, there’s sophisticated laughter; they decide to continue as planned. Dinner, however, is interrupted by the arrival of Angela and her mute attendant, also named Traunitz. The next day, the child initiates a game of “Chinese roulette,” in which one team tries to guess which of them the other team is thinking of by asking questions. The game has an edge of cruelty and the results are explosive.Read More »

Shindo’s “Hymn” is one of many adaptions of Tanizaki’s classical novella ‘Shunkinsho’ (‘A Portrait of Shunkin’,1933). The story tells of the adoration of Sasuke for his mistress, the blind samisen-teacher Shunkin, who treats him imperiously and subjects him to cruel beatings. After an unknown intruder probably one of her pupils, who seeks revenge for her cruel behaviour, pours boiling water on the sleeping Shunkin’s face, Sasuke blinds himself in order not to behold her disfigurement. Sasuke’s sacrifice, made in response to Shunkin’s tacit wish, seals their life-long relationship.Read More »

An ambitious Hollywood hustler becomes involved with a reclusive female star whom he tries to lure out of retirement.Read More »

Ornella Muti Eugenia, the daughter of respected dentist Emilio Rutelli (Gabriele Ferzetti) and former concert pianist Elisa Rutello (Valentina Cortese). Elisa long ago suffered some sort of mental breakdown, and she’s treated shabbily by Eugenia. For his part, Emilio still cares for Elisa, though that doesn’t prevent him from becoming sexually active with his daughter’s best friend Nicola (Eleonora Giorgi). Incest eventually enters into the picture.
Read More »

“With her Oscar-winning turn in Klute, Jane Fonda reinvented herself as a new kind of movie star. Bringing nervy audacity and counterculture style to the role of Bree Daniels—a call girl and aspiring actor who becomes the focal point of a missing-person investigation when detective John Klute (Donald Sutherland) turns up at her door—Fonda made the film her own, putting an independent woman and escort on-screen with a frankness that had not yet been attempted in Hollywood. Suffused with paranoia by the conspiracy-thriller specialist Alan J. Pakula, and lensed by master cinematographer Gordon Willis, Klute is a character study thick with dread, capturing the mood of early-1970s New York and the predicament of a woman trying to find her own way on the fringes of society.”Read More »

“The 1970’s was the decade of the gothic lesbian vampire film. The exploitation efforts of Jean Rollin (LIPS OF BLOOD), Jess Franco (VAMPYROS LESBOS), and Hammer (LUST FOR A VAMPIRE) were enormously popular at the time. These films successfully combined the fear of death and eroticism, which struck a cord with male audiences. Many of the films merely hinted at the overt sexuality, and most never fully explored the sexual aspects of the genre’s premise. That all changed in 1974, when upstart Spanish director Jose Ramon Larrez (or Joe as he is called stateside) raised the bar with the ultimate depiction of sex and horror, VAMPYRES.Read More »

Keiko is a 23-year-old lonely virgin who lives in a tiny room, and hopes to meet someone in the cafe she frequents. After a bad affair with one of the other diners, she vows to give up men. She then begins a happy lesbian relationship with her co-worker Kazuyo. However she is under constant pressure from her father to marry.Read More »