Rape Climax (1987)

Director Hisayasu Sato helmed this peculiar tale about a woman known as Locker Baby because she was left in a bus station locker as an infant. Locker Baby is raped by a man clad in black leather, traumatizing her still further, and driving her to sensory-deprivation therapy. Unfortunately, she is raped during the course of the therapy and becomes pregnant, leading to a denouement which any reader of the “Hot Blood” or “Borderlands” series will see coming a mile away. Kiyomi Okada stars with Asami Yamaguchi, Shoichiro Sakata, and Toru Moriya.

Sato’s talent for finding and framing beautiful shots even on the tightest schedules and budgets is nicely on display in this film.

Agony of Love (1966)

A bored housewife rents an apartment where she indulges in all of her sexual fantasies.

Made in the time when the drive-ins ruled entertainment, during the golden age of sexploitation smut, “The Agony of Love” is a real standout among many of its competitors of the era, not the least of which is due to that luscious 60′s silicone siren, Pat Barrington.

It is basically about some girls, in a college dorm. That’s enough, you don’t need to know any more, except that they are frequently naked and making out with each other.

They do stripteases for each other, in the dorm. They vie for who gets to make out with the better endowed girls. They admire each others bodies and make dates to make out with each other later. They go on field trips and make out with each other. They watch each other making out. In fact, they do very little except get naked and make out with each other.

Two sexually energized young women who live in a high-rise apartment building happen one day to spy from their window a mother and son making love in the apartment across from theirs. They decide to stage a rescue attempt to free him and in the process one of the young women ends up falling in love with the son despite having a boyfriend and enjoying sex with her female companion. Of course, the mother they are warring against has her own plans when she feels her privacy invaded.

The story of a day in the life of a lonely, sensitive, exhuberent, attractive, young woman. Her exploits, encounters, and frustrations as she attempts to find a “special” someone, a caller who has “class”, as she puts it.

A married couple’s weekend plans are violently disrupted by a maniac who attacks both husband and wife while their daughter and her babysitter are forced to watch… until the young girl becomes the next victim of the rapist’s sick desires. After the vile attack, the child’s mother seeks revenge.

This Italian film aka “Submission of a Woman” is very intense! Rape and revenge movies are sometimes difficult to watch, but this film is great. If you are a fan of such films, “I Spit on Your Grave”, “Assault!”, “The Killer Must Kill Again”, “House of Whipcord”, Dario Argento’s “Trauma” then this film is a must see. It has a giallo feel to it too!

An unhappily married man dotes on his young daughter, but is turned off by his feminist wife. He wants to cheat but is unable to make it with slutty bar girls or prostitutes. Then he meets a young stenography student (Eleanora Giorgi) who is wandering alone through a park where a lot of other young people are making out. When they first make love, she reveals that she has a masochistic streak by putting a sharp knife to her bare breast. After that their relationship gets increasingly perverse and borderline abusive as he gets her to suck his toes in the bathttub, pretend to be a prostitute and perform oral sex on a random guy, have sex with another woman while watches through a peephole, and even confront his wife at an abortion rally.

A man rescues a woman from a suicide attempt in a gay nightclub. Walking the streets together, she propositions him: She’ll pay him to visit her at her isolated house for four consecutive nights. There he will silently watch her. He’s reluctant, but agrees. As the four nights progress, they become more intimate with each other, and a mutual fascination/revulsion develops. By the end of the four-day “contract”, these two total strangers will have had a profound impact on each other.

Anatomy of Hell focuses on a women {Amira Casar} paying a homosexual man {Rocco Siffredi} to watch her in her home during her most private moments. It contains graphic sexual material but in a learning context. The woman’s character seems to want to take the shame out of being a women by showing a man {who is disgusted by women} her most feminine self. By doing so they connect on a very raw level. If you like Catherine Breillat’s particular form of artistry you may like some of her other movies as well.

Countess Verena (Ursula Blauth) is a pawn of her sexually berated husband, Count Anatol Manesse-Manconi (W.G. Lukschy) and has been turned by him from the country girl briefly model into a hedonistic sophisticate who goes along with his unusual tastes, even in fact, relishing them.

The beautiful younger woman has been hypnotized by her husband’s strong personality and fascinated by the erotic experiences he puts her through. A complete voyeur, he does not actively partake of sex himself but only reacts by having his wife indulge in wild affairs with other men-all of which the Count photographs and exhibits on the walls of his bedroom…

An art student surprises his classmate and fellow artist by keeping the portrait he has painted of her when she believed she would own it after it was completed. The surprising turn of events continues into a seductive love triangle between her, him and a third student.

The story may be a classic menage-a-trois with an, some would say, unavoidable outcome. But there was nothing classic about this film. It is a very unique piece of work. The authenticity of the play, and the scenes where so much was said and no one spoke, is sublime. It is a film that is suppose to be felt more than seen, or heard. If you like Korean instructor Kim Ki-Duk’s film, you’ll love this one. A very fine portrait of the seeking nature of youth, with a logic that seems so evident at the time. Yet later on in life is discarded as rash or not prudent, or outright promiscuous. It portraits the dilemma between open mindedness and and the fear of loosing the tender moment.

Solange is a young writer / director whose sexual conquests are vast and legendary. She is married to a rich moneyman, someone who lets her indulge in her appetites. First is her lead actor, a handsome American played by Warhol and Paul Morrissey regular Joe Dallesandro, but Solange states that ‘she loves him and is sick of him.’ Solange is always hungry, and when she meets a fellow director she becomes infatuated with him, wants him, and his initial resistance only makes her steadfast to the point where she develops an unhealthy obsession that has her questioning her thoughts on desire and sex.

Laila is an innocent Lappish girl and the only daughter of a reindeer herder. During world war II Laila rescues crashed German fighter pilot Hans and the two develop warm feelings for each other during his convalescence. Years later, after the war, Hans returns to Lapland as a freelance photographer and manages to lure Laila to run away with him to capital Helsinki to start a career as a photo model, much to the chagrin of her traditional father Aslak. After initial happiness, however, Hans abandons Laila and the decadent lifestyle of a big city sends her life into a downward spiral.

An American actress inherits a castle in Transylvania. What she doesn’t know is that her ancestor, the Baroness Catali, was in actuality a vampire countess, and emerges from her tomb to ravage the nearby village and Catholic seminary.

They’re Italy’s notorious “Ladies of the evening” catering to the strange cravings of their kinky, high-paying clients. But suddenly, the girls of the street find themselves being stalked by someone with desires even they can’t satisfy. After a series of shocking crimes, the clues lead police to a pornographic film maker and his stable of lovely models and starlets. But can the authorities track down the “Hooker Maniac” before he strikes again?

In an undefined country, the Governor Mendonza summons the lawyer Lindsay to his death bed to disclose that the lovers Raymond Franval and Beatriz Coblan are innocents. Mendonza tells that he had an unrequited love for Beatriz while his lover Emilia Franval was jealous of Beatriz. Emilia had had a love affair with her godson Raymond, who ended their relationship to stay with Beatriz. Mendonza plots with Emilia to kill his wealthy sister-in-law Margarita Santiago to frame Raymond and Emília. The lovers are convicted of murder and sentenced to a life imprisonment in separate wings of the Devil’s Island prison. Lindsay decides to visit his clients and when he arrives, he meets the inmate Rosa that tells the fate of the two lovers.

After narrowly escaping brutal Detective Kodama Sasori hides out in a seedy strip joint in the back streets of Tokyo. There she encounters Kudo who was humiliated and tortured by Kodama and his cronies years ago. The two strike a bond and soon set out to exact Kudo’s long dreamt-about justice against detective Kodama. But their plan is not going to end happily.

Danish student Ingrid (Ornella Muti) and her English boyfriend Dick (Ray Lovelock) decide to sell pornography illegally in Italy, and at the beginning, they make a lot of money and spend a great holiday time there. Then they are arrested by the police, and their rebellious attitude (especially if you remember, this was 1970) doesn’t help much. They end up on the street without a Lira in their pockets, and when a rich lady (Irene Papas) offers help, it seems a stroke of luck and they are not suspicious at all…

A once thriving Japanese village is in dire need of young beautiful ladies to help with diving duties. Times are tough and the current diver is definitely no spring chicken so the mayor’s son finds some beautiful maidens to fill the position. Plot quickly takes a back seat as the arrival of the new recruits gets a rise out of the village’s male embers. Let the sex games begin! Culminating in a celebration in which the new diving girls parade around in their tiny bathing suits to bring in cash-laden tourists this film is a crazy comedic take on timeless Japanese traditions. Of all the genres endemic to Japanese cinema the ama or ‘Girl Diver’ film is perhaps the most curious. NYMPHO DIVER: G-STRING FESTIVAL switches up the formula by replacing beautiful underwater photography with cat fights nudity and even a crazy perverted monk!

This erotic horror film, set in 1905, tells the story of a thief who seeks refuge in a castle owned by two women, Eva (Brigitte Lahaie) and Elizabeth (Franca Mai). The women are seductive and teasing, but turn out to be part of a vampiric cult of blood-drinking aristocrats.

Rita (Rita Waldenberg), Elsa (Uschi Karnat) and Ursula (Ursula Maria Schaefer) share a room in an all girls boarding school located in a beautiful villa. Their favorite and seemingly only class is sexual education taught by Fraulein Steif (Martina Domingo). They gladly accept homework and even do some research of their own, as the local baker (Roman Huber), photographer (Eric Falk), greengrocer and several inanimate objects (Mr. Cucumber & Electric Toothbrush) soon find out. And when they aren’t around, the girls still have each other.