Latest posts tagged with #FrancoFebruary on Bluesky
Mabuse’s drunk cousin no one acknowledges at reunions gets caught stealing shots in Franco’s zero f*cks given DR. M SCHLÄGT ZU (1972), a spatially spontaneous maybe coastal maybe border town inept cowpoke hunts panther dancer nabbing sad FrankenKong krimi mid quickie with giallo. #FrancoFebruary
Soledad Miranda in THE DEVIL CAME FROM AKASAVA (1971), Jesús Franco
#SoledadMiranda #JessFranco #EdgarWallace #CCC #FrancoFebruary
One of the last krimi for CCC, Franco’s DER TODESRÄCHER VON SOHO (1972) veers more expressionistic camp than dirty “London,” finagling fringe POV through a use of roving camera & casual lack of narrative coherence to form palatable pulp—even if it packs a carryall instead of a punch. #FrancoFebruary
Predating quasi-contemporaneous Nouvelle Vague roadtrips such as Pierrot le Fou, the ladies of frothy Franco first TENEMOS 18 AÑOS (1959) are never decorative extensions of masculine plotting—but catalytic constructors who drive their narrative through genres at high speed. #FrancoFebruary
Franco’s LOVE CAMP (1977)—aka Love Triangle Camp involving Ada Amazonian Tauler, real life murder suspect Wal Davis & (not) John Oates—benefits from more than group showers & nude slap fights, but also above market visuals with several instances of astonishing perspective camerawork. #FrancoFebruary
Emma Cohen as Ana in Al otro lado del espejo (1973) aka THE OTHER SIDE OF THE MIRROR, dir. Jesús Franco 🪞📽️
#EmmaCohen #JessFranco #FrancoFebruary #filmsky
Franco's slyly ironic The Most Dangerous Game variant LA COMTESSE PERVERSE (1973) has an undeniable breezy kineticism, squeezing erotically drenched dread out of every frame while giving low rent sleaze an ultra-modern overhaul in Xanadú's mind melting atmos. #FrancoFebruary
While LORNA THE EXORCIST (1974) invites comparison to Rosemary’s Baby—in both cases a woman’s womb is mortgaged by her spouse for his lucrative solvency—Franco’s heretical symphony rejects this gendered economy, climaxing in a bloody reclamation of bartered autonomy. #FrancoFebruary
Radiating from a Robert de Nesle nucleus of avaricious intent & more abused upon release than the tortured nuns of its environs, Franco's popedelic witchfinder-ploitation LES DEMONS (1973) is a fascinatingly odd potage of his own Bloody Judge with The Devils & a dash of de Sade. #FrancoFebruary
Mildred Pierce (1945), Michael Curtiz
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The Diabolical Dr. Z (1966), Jesus Franco
#sidebyside #Noir #FrancoFebruary
Exigent triathlon through Dante’s Disco Inferno JE BRÛLE DE PARTOUT (1978) should be considered a horror film, its druggy free jazz optics of uncontrollable tumescent agony capped by Francoverse stock dick Pereira showing up to remind viewers what bad people we are. #FrancoFebruary
Jess Franco & comic Quixote PI Marlboro welcome you to Shit City, the fictitious locale of parody pastiche LOS BLUES DE LA CALLE POP (1982)—a charming Godardian brigante of the 80's Manacoa Films period combining classic Bogart noir & Diabolik cheek with Walter Hill. #FrancoFebruary
Der Ruf der blonden Göttin / Call of the Blonde Goddess / Voodoo Passion - Jess Franco (1977)
#FrancoFriday #FrancoFebruary
If you’re in the mood for vhs quality rare Jess Franco films…
They don’t come much better than WICKED MEMOIRS OF EUGENIE (1980) and LES EBRANLEES (1973) #francofebruary #jessfranco #jesusfranco #francofriday
An opiate of odiousness that may—& arguably should—remain tucked within the grainy recesses of bootleg hell, WICKED MEMOIRS OF EUGENIE (1980) is yet another De Sadean dulia to scopophilia that distinguishes itself from Jess’ myriad of philosophic boudoirs through somnific minimalism. #FrancoFebruary
Les Cauchemars naissent la nuit / Nightmares Come at Night - Jess Franco (1970)
Odalisque - Delphin Enjolras (19th Century)
#FrancoFebruary
It’s marvelous to live without a sense of time in Francoland where a plot’s psychosexual melodramatics rarely result in forward momentum, the actors of BUT WHO RAPED LINDA? (1973) chess pieces trapped in repetitional purgatory of arousal & familial shame, escape just beyond reach. #FrancoFebruary
An alien being weaponizes the body of an exotic dancer for nefarious purposes in sexually unsettling Romay showpiece SHINING SEX (1975), Franco's obsessive preoccupation with his muse's raw sensual power bordering on melancholia, doused in glitter & on gloriously explicit display. #FrancoFebruary
Poster for Night of the Eagles
For tonight’s #FrancoFebruary movie, @vylenza.bsky.social choose Night of the Eagles which has Christopher Lee & @markhamillofficial.bsky.social in it.
Poster for Night of the Eagles
For tonight’s #FrancoFebruary film.. @markhamillofficial.bsky.social and Christopher Lee star in an Uncle Jess film set in WW2.
Franco's NIGHTMARES COME AT NIGHT (1970), with its coquettishly casual attitude towards any logical visual composition, boils Umberto Lenzi's Clouzotian gialli down to surrealistic stew of kink & causality, protracting reality like an intoxicatingly overlong striptease of saturation. #FrancoFebruary
THE SINISTER EYES OF DR. ORLOFF (1973) belong to William Berger this time in Jess Franco’s gothic giallo incarnation of his favorite mad quack with vengeful hypnotism, kill lists, bathtub bludgeoning, gaslighting, inheritance schemes & overly curious neighbors aplenty. #FrancoFebruary
An evil wizard & his rapacious vampire hen steal Frankenstein's monster so the amorously burnished carcass can father a master race of concupiscent corpses in THE EROTIC RITES OF FRANKENSTEIN (1972), flagellating the senses with Franco's patented ocular mélange of lunatic freneticism #FrancoFebruary
Jess Franco’s dialogue deficient Hammer Horror antithesis DRACULA, PRISONER OF FRANKENSTEIN (1972) is a Quaaludes cinema monster mash narrated by a whispery echo from a wall pipe, sublimating implausibility through every resurrected arteriole of Universal’s classic catalogue. #FrancoFebruary 🦇
Continuing to test the boundaries of conventional genre filmmaking, Jess Franco's DR. ORLOFF'S MONSTER (1964) or more precisely The Mistresses of Dr. Jekyll brews its own potent mad science of Wellesian shadows, giving the krimi a gothic overhaul of sexual guilt & fratricidal rage. #FrancoFebruary
