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"Haitian multi-hyphenate Richard Senecal’s third outing, about a young woman who must choose between love and money, is a simple moral fable wrapped in beauty. Through Senecal’s DV lens, the entire island, interiors and exteriors alike, are bathed in soft light, looking like the work of a superior art director with an extremely felicitous eye for color. His actors are even more aesthetically pleasing, garbed in pure lines and fabrics. Even the gray school uniforms subtly blend with the surrounding hues. Striking storytelling with an almost folkloric resonance should find a niche on cable." - Ronnie Scheib (Variety Magazine)
Camera (color, DV), Senecal; music, Tripping Live and 718 Boyz; sound, John Mogene; assistant director Haendel Dorfeuille. Reviewed on DVD at Brooklyn Film Festival, June 6, 2006. Running time: 106 MIN.
With Gessica Geneus, Jimmy Jean-Louis, Soledad Elizabeth Jean, Jerry Lentz Rocher, Rudolph Moise, Roland Dorfeuille.
(Creole, French dialogue, English Subtitle.)
Description:The Curious Female evolves around a futuristic (Year 2157) cultist society of moviegoers, whom gather secretly to view prohibited, old works; because it happens, generally anything from the old globe is forbidden by 'Master Computer' and therefore enforced by the laws of the time. This gathering of toga-wearing movie enthusiasts, entwined in emphatic orgiastic embrace, soon settle to watch their latest piece of Hollywood, acquired by Liana (Bunny Allister), their female host, accompanied by her male Jorel, companion (David Westberg).
Their evening's watching, introduced as "The Three Virgins" is described as a moralistic view of the old world – An era perceived to cling to the principles and ideals of marriage – Which essentially transports united states back (relatively speaking) to a "Hi-Tech" dating agency, set in modern time Los Angeles, which utilises the exact same actors/actresses again to great effect!
While much of the interested Female is seen through the sometimes soft-core, raunchy lens of "The Three Virgins", the film is nevertheless punctuated with a regular return (Between reel changes) to the future, while our cultists ask concerns, like that of children about the globe they have seen on film. "What's a Virgin"? one girl asks, while another concerns "Marriage" in the same way. These discussions induce surprise and supply understanding for the viewer, as the ethical and moral state of this really restrictive, Romanesque futuristic society unravels itself in narrative, brief exchanges...
Although really cheaply made and extremely dated in tone, this 1969 effort from Paul Rapp (The Wild Angels (1966), The Trip (1967), Boxcar Bertha (1972)) is extremely well does and executed occasionally include elements of sheer brilliance, though maybe a second viewing could be the only way of exposing these narrative subtleties! Made at a time whenever computers had been perhaps simply beginning to eek into the mainstream fabric of industrialised civilization, there is a current sense of hysteria being depicted here, perhaps suggesting that we might one day rely on computers a bit too much – Emphasised in no little component by the futuristic 'all-seeing' prohibitive eye of Master Computer (an early Big Brother metaphor?) as well as the dating machine, seen here to over-load when prompted for some information!
In connection to the futuristic segments of the film, one might argue that constantly eroding boundaries of previously unsatisfactory sexual marriage, relationships and other formerly illicit practices within our very own culture might one day lead to these types of a future, though this is indeed a stretch of the imagination; within this context however, the restrained mastery of the Curious Female, whether intentional or otherwise, does occasionally shine…
Despite being an admittedly average film, The Curious Female brims positively with 60's psychedelic euphoria and it is, by all accounts, incredibly difficult to find right here in the UK! It's obscure, one-time video clip release, compliments of Iver movie Services (circa 1981) being it's only lease of life right here.
Presently unavailable on DVD anywhere, this forgotten gem surely deserves a reissue – Particularly whenever other, less deserving (and often atrocious sub-standard VHS print quality) film product is regularly unleashed into a saturated and often ambiguously represented video market!
On a closing note, allow me to just say that the sound recording however is brilliant, oozing with 'original' Austin Powers confidence – in person, I'd grab it immediately, if it were readily available!
Un film di Mauro Ivaldi. Con Carmen Villani, Ray Lovelock, Amparo Muñoz, Enzo Cannavale, Enzo Robutti. Italia 1979.
Dopo otto anni di matrimonio, Monica intreccia una relazione con Giorgio, ex campione di nuoto e nuovo vicino di casa. Ma Monica, che non ha mai nascosto nulla al marito Mario, brillante chirurgo, dopo il primo momento di sbandamento, decide di tornare a casa. Giorgio, invece, che ha sempre tentato di nascondere tutto alla moglie, benché provetto nuotatore, non riuscirà a salvare il suo matrimonio dal naufragio.
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"BENJAMIN," which opened yesterday at the Paris Theater, is a sick, stylish libertine farce, in color, set in 18th-century France and directed by Michael Deville, whose earlier films were not released in this country. It stars Pierre Clementi as a young man—somewhere between Tom Jones and Rousseau's Emile—who, at 17, rides with his mangy old tutor to the estate of his aunt, where he is to learn the ways of the world. The rest of the movie is a series of attempts to seduce him and Catherine Deneuve, who plays an orphan living with her chaper-one on a neighboring estate.
The movie is entirely tongue-in-cheek, a parody on all kinds of seduction comedies. There are so many parodistic allusions that "Benjamin" is almost a tapestry of scenes from other films—"TomJones," "Mademoiselle," Liaisons Dangereuses," "Marienbad." There is a sense of enameled decadence: teeth and jeweled rings and switches torn from trees are always doing minor damage to someone—as lovely, elegant tableaus vivants unfold in the French countryside. Miss Deneuve is in love with Michel Piccoli, the lover of Mr. Clementi's aunt, Michele Morgan, who has not been exactly estranged from her nephew, who loves Miss Deneuve, who is not indifferent to him either, or he to his aunt, who is really desperately in love with Michel Piccoli, who loves Miss Deneuve. Not "La Ronde" exactly, but a kind of current that could blow them all either way.
There is really no plot, just a succession of other characters, and flirtations, and falls into the bathtub, and surprises in the garden house, very graceful and wicked but—since the thing is also a rather redundant, elaborate tease—not always fascinating. The dénouement is very odd, quite different in style from the rest of the movie—less formal, in fact, more relenting and natural—and then more sharply satirical than anything that has gone before.
The movie's humor is a kind of special taste, like cloves or pepper, or all things polite with a tinge of viciousness. It is quite beautiful and elegant, though, at times.
"Hypothesè," a wordless French animated cartoon about holes in a computer card, is a nice short playing with "Benjamin."
BENJAMIN, screenplay by Nina Companeez; directed by Michel Deville and produced by Mag Bodard, a Part film. Marianne Productions co-production presented by Paramount Pictures. At the Paris Theater, 58th Street west of Fifth Avenue. Running time: 108 minutes.
Countess . . . . . Michele Morgan
Anne . . . . . Catherine Deneuve
Benjamin . . . . . Pierre Clementi
Philippe . . . . . Michel Piccoli
Marion . . . . . Francine Berge
Celestine . . . . . Anna Gael
Victorine . . . . . Catherine Rouvel
Camille . . . . . Jacques Dufilho
Woman . . . . . Odile Versois
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La casa delle donne [film completo] - The House of Women [full movie]
"La casa delle donne" (The House of Women, La maison de femmes, La casa de mujeres), 2003, a film by Mimmo Mongelli.
Genre: Dramatic, Social
Screenplay: Mimmo Mongelli, Maria Marcone
Cinematography: Frederic Fasano
Editing: Anna Napoli
Music by: Giuseppe De Trizio, Adolfo La Volpe
Production: Giuseppe Giacchi and Ennio Pontis for "RESH"
Country: Italy, 2003
From the eponymous novel by Maria Marcone (Palomar Ed., Bari - Italy)
"Piacerà a chi ama i film con tante storie, i racconti fiume, grossi debitori della narrativa ottocentesca" (Giorgio Carbone, 'Libero', 18 luglio 2003)
["It will appeal to those who love movies with many plots, impressive stories, heavily indebted with the 19th century fiction" (Giorgio Carbone, "Libero" Italian newspaper, July 18, 2003]
Film shot thanks to the support of the Italian Ministry of Heritage and Cultural Activities. The voiceover in the introduction is by Vito Signorile.
At the beginning of the 20th century, in the countryside around Bari, from a wealthy man, Rocco, and from his three concubines (Checchina, Marietta and the maid Pasquina) was born a composite family in which, in many cases, paternity and maternity are uncertain. From the relationship between Rocco and Checchina born Palma and Fedora (probably daughters of the laborer Pasquale) from Rocco and Marietta born Guido (recognized by the laborer), from Pasquina born Jacinta (which is recognized by Checchina).
Once in a "marriageable" age, Fedora decides to get married with an accountant and move to Bari to escape the situation now insufferable. But soon the rest of the family decides to follow her, settling with her in a building in the center of the town. After many twists and turns that will last until the '80s, there will be the affirmation of the 'generation of women', who will be able to take over the men of the house.
[All'inizio del secolo scorso, nelle campagne intorno a Bari, da un uomo benestante, Rocco, dalle sue tre concubine (Checchina, Marietta e la serva Pasquina) nasce una famiglia composita in cui, in molti casi, paternità e maternità risultano incerte. Dal rapporto fra Rocco e Checchina nascono Palma e Fedora (probabilmente figlie del bracciante Pasquale); da Rocco e Marietta nasce Guido (riconosciuto dal bracciante), da Pasquina nasce Giacinta (che viene riconosciuta da Checchina). Una volta in età da marito Fedora decide di sposarsi con un ragioniere e di trasferirsi a Bari per sfuggire a quel clima divenuto insostenibile. Ma ben presto il resto della famiglia decide di seguirla stabilendosi con lei in un palazzo al centro della città. Dopo alterne vicende che durano fino agli anni Ottanta, si assisterà all'affermazione della 'generazione delle donne', che riusciranno a prendere il sopravvento sugli uomini della casa.]