Isabella Ferrari in “Amatemi” [2005 Italy]

Renato De Maria’s 2005 drama, “Amatemi” [Eng. Title: Love Me] is a woman’s quest for love and a meaning in her life, after her husband of twenty years suddenly decides to separate.

Nina, an announcer at a supermarket returns home one evening to have a bombshell thrown at her by husband Claudio – he wants to separate because he had ceased to be in love with her for some time, and that he’s now in love with another woman. A desperate Nina implores him not to leave, to no avail. She finally come to terms with reality and decides to start afresh, giving herself a makeover, and clubbing with her friend Giulia. One night, she sees a stranger at a club and promptly follows him – they never utter a word, as they take a room at a hotel, have sex, and leave. She feels she could now finally lay to rest her past relationship. Neither of them even bothers to ask for each other’s name or telephone number, but after they go their separate ways, Nina begins to miss him, and frequents the bar in the hope of meeting him again. When he doesn’t turn up there, she takes on a string of lovers, deciding not to expect anything, and not allowing them to either. She finally meets up with the stranger from a bar, after watching him on TV.

Her philosophy can be summed up in her own words, “I don’t want to count how many people I’ve known, but whether I’ve loved each one of them enough, and they felt likewise. I do this without expecting anything, not their truth, their lies or betrayal. One thing is for sure, I never want to be alone again.” Whether we agree with Nina or not, the film is adequately made, with some solid performances by Isabella Ferrari as Nina and an under-used Pierfrancesco Favino as Claudio.

Amazon.it DVD Link

 
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Omahyra Mota & Karin Viard in “Les Derniers Jours du Monde” [2009 France, Spain]

Larrieu brothers’ (Arnard and Jean-Marie) most recent film, “Les Derniers Jours du Monde” [Eng. title: The Last Days of the World, Festival Title: Happy End] is a typically French take on the apocalypse theme – generally the preserve of Hollywood blockbusters. While the latter rely heavily on grand special effects to propel the story, ‘Dernier Jours’ uses it sparingly and to good effect, instead devoting considerable attention to the people’s mindset as the calamity unfolds.

It is essentially a road movie, where the protagonist – aptly named Robinson, wanders through France and Spain searching for the woman he wants to spend his last few days with, Laetitia, while people keep dropping like flies all around him. We get to know about Laetitia through a jigsaw of flashbacks. He holds faith that she is still alive, somewhere, as those who abducted her surely needed her to be. The film doesn’t delve into the happening cataclysm, merely depicting things happening within Robinson’s vicinity, and that too in the background. The film audience go through a surreal experience, just as anyone living the apocalypse would undergo. Surprisingly for a bleak film, it also has its lighter moments, when we are shown examples of absurdity only capable by humans. I think this film’s a unique cinematic experience, and definitely Recommended Viewing.

Amazon.fr DVD Link

 

 

Compilation 1: Omahyra Mota
We are shown through flashbacks, the purpose behind Robinson’s quest – to find the woman he loves, former barmaid Laetitia, played by Latin American born model, Omahyra Mota.

Omahyra Mota in Les Derniers Jours du Monde

Nude scenes of Omahyra Mota from the film, “Les Derniers Jours du Monde”.

 

 

Compilation 2: Catherine Frot, Karin Viard, and Clotilde Hesme
All these scenes happen in the film’s present time. Robinson has lost one of his hands, and these are his experiences as the world is coming to a violent end.

Catherine Frot, Karin Viard and Clotilde Hesme in Les Derniers Jours du Monde

Scenes of Catherine Frot, Karin Viard and Clotilde Hesme in “Les Derniers Jours du Monde”.

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Rita Rusic in “Attila, Flagello di Dio” BR1080 [1982 Italy]

Franco Castellano and Giuseppe Moccia made this bawdy historical spoof, “Attila, Flagello di Dio” [Eng. Title: Attila, Wrath of God] with popular comedian Diego Abatantuono. Apparently this film had attained a cult status among a particular generation of Italians for its witty dialogue. While I found the film funny in places, some of the jokes simply went past me as they’re spoken in regional slang.

The reason for this post however is for the very dishy Rita Rusic who plays Uraia, Attila’s woman. The film was shelved for a number of years because of her nude scenes – she’s a producer herself now, and possibly didn’t want to be associated with the film at the time. But good things can’t be bottled up forever – it has now come out in Blu-ray, in all its restored glory from which these compilations were made

The film depicts Attila as an accidental invader perfectly happy roaming the countryside with his bunch of misfits and picking fights with the Romans. One day when he and his men return from a hunt, they see their village gutted, and women gone after a raid by the Romans. Attila heads to Rome to seek revenge – what incensed him was the fact that they’d taken the horses too! After a series of Monty Python-style misadventures, Attila returns with his woman and gold. Overall it isn’t a terrible film at all, and I did like the film score very much, and of course, lovely Rita doesn’t get to wear anything apart from bikini’s for much of the film, so definitely worth taking a look even for non-Italians.



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Isabel Cristina Cadavidad & Linda Lucía Callejas in “Sin Tetas no Hay Paraiso” [2010 Colombia]

Colombian writer/director Gustavo Bolívar remade his earlier TV series “Sin Tetas no Hay Paraìso” [Eng. Trans: No Paradise Without Tits] for the big screen in 2010, and apparently it was still a huge success.

It chronicles the completely misguided life of a low-in-self-esteem fourteen year old girl, and the extraordinary lengths she goes to, to get what she thinks is necessary – in her case, bigger breasts equates to greater success. In the DVD extras, Gustavo Bolívar also explains the reason behind his making of the film that had already had a successful run on TV earlier – so that he could follow the original novel more faithfully, where an adolescent Catalina enthusiastically turns to prostitution in order to earn the money required for her breast implant – in the TV series, the story was adapted to portray an older woman.


About the Making of the Film:
The film does have a rather interesting background. Bolívar wanted to find a young lady really wanting to undergo surgery for his film, so that the actual procedure could also be filmed. Twenty one year old Isabel Cristina Cadavidad was consulting with renowned plastic surgeon Alan Gonzalez (who acts as himself in the film too) when she was informed of the opportunity to star in a film. Even though she was 21, she looked 15-16, which was more or less the character’s age, and she agreed to play Catalina.


About the film:
Any story dealing with under-age prostitution is shocking to say the least, but the director forces us to look beyond what Catalina ends up doing, in order to explore the motivating and mitigating factors that leads her down the path. The film is therefore very earthy, in a naturally Latin American way, and well made with some interesting screenplay, which switches from melodramatic soap-opera to gritty drama of gang-culture, from teenage romance to erotic drama. The acting is also pretty good, especially from Isabel Cristina Cadavidad, who has never acted before.  The direction and editing are professional, and the sound track is excellent, sampling Cumbia, Pop Latino, Hip Hop and Reggaeton beats – it’s as if the entire musical talent from Cali and Bogota have been called upon for this film. It’s all good fun, never boring, why would it when the screen’s filled with sexy girls from start to finish! Needless to say, Recommeded Viewing.

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Carmen Montes in Jesus Franco’s “Paula-Paula” [2010 Spain]

Let’s be naughty for a change – this is not exactly mainstream, what the heck, it is not even cinema, it is Jesus Franco’s (oh, don’t we all remember him!) latest video film, “Paula-Paula – An audiovisual experience”.

An audiovisual experience – hmmm – it’s an experience alright, and an endurance too if I might add. This must definitely be Franco’s lowest-budgeted film – it helps I suppose if you’re the writer, director and the editor as well. But even then, this is a poorly finished film by his standards. The film’s run-time is 66 minutes, but I bet the actual footage used could be less than half that. The film is prolonged using slow-motion, that too applied during post-production, and using the laziest methods. I think he just desperately needed to get a film out. More than the ‘film’, I found the DVD extras more interesting which included a candid interview with Franco where he talks about cinema in general and his personal experiences as the maker of 200-odd films.

As far I can see, the only merit in the film is its old-school piano jazz composition which he mixes up with some modern flamenco, funk and some classical western. The reason for my post however, is Carmen Montes, a natural beauty with a typical Spanish figure, save the needlessly shaved nether regions. I’m sure she’d look good even when fully clothed, and I dearly wish someone uses her for other than these kind of flicks – she’s capable of more.

Okay, the story – Paula is interrogated by detectives after the murder of her friend, an other Paula. That’s it!

Carmen Montes and Paula Davis nude in Paula, Paula

The Spanish curves of Carmen Montes and Paula Davis take centre stage in the inimitable Jesus franco’s late offering, “Paula, Paula”.



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