Una donna intende vendicarsi dell'uomo che ha abusato di sua sorella.Una donna intende vendicarsi dell'uomo che ha abusato di sua sorella.Una donna intende vendicarsi dell'uomo che ha abusato di sua sorella.
Rosemarie Lindt
- Emanuelle
- (as Rose Marie Lindt)
Annie Carol Edel
- Mira
- (as Karole Annie Edel)
Maria Rosaria Riuzzi
- Pamela
- (as Mary Kristal)
Giorgio Fieri
- Alfredo
- (as Giorgio Fleri)
Eolo Capritti
- Il produttore cinematografico
- (as Al Capri)
Filippo Perego
- Ispettore Polizia
- (non citato nei titoli originali)
Anna Maria Polini
- Ragazza Nella Cena Cannibale
- (non citato nei titoli originali)
Luciano Rossi
- Card Player
- (non citato nei titoli originali)
Umberto Santolamazza
- Carlo's Friend
- (non citato nei titoli originali)
Trama
Lo sapevi?
- QuizBeware the 1:22 English version that cuts all the sleaze you come to a D'amato film for!:
- Citazioni
Il produttore cinematografico: We're not making arty-farty flicks for intellectual faggots! ... We got a terrific setup here, terrific! You can't tell this from the real thing, completely authentic! Sam Peckinpah was begging to film here!, I told him no ... D'y'all remember a film called, uh, what was it called? "A Fistful of Silver," something like that, "A Fistful of Lead?" Well that was shot right here, right where we're walking, every foot of that film
- Versioni alternativeErwin C. Dietrich cut the original movie to get an "Ungeprueft" in Germany. To have enough material, he fit in new scenes with Brigitte Lahaie.
- ConnessioniFeatured in Joe D'Amato Totally Uncut (1999)
Recensione in evidenza
"Emanuelle e Françoise (Le sorelline)" is a 1975 Italian exploitation film that delivers on its promise of eroticism and controversy. Directed by Joe D'Amato, a master of the genre, the film is an unrestrained and unabashedly sleazy journey into the depths of human desire and the extremes of revenge.
The plot revolves around the titular characters, Emanuelle, a mature and seductive agent, and her sister Françoise, who find themselves entangled in a web of murder and intrigue. The story takes a twist when Emanuelle discovers that her sister has been murdered by an evil, playboy character, setting her on a path of vengeance.
The film is unapologetically explicit, featuring a steady stream of sexual content, including a three-way lesbian encounter, genital fondling, oral sex, and creative use of a wine bottle. The violence is also notable, with a detour into horror territory, adding a layer of unpredictability to the already titillating narrative.
While the cinematography and composition are commendable, with D'Amato's own photography enhancing the atmosphere, the real star of this film is its unhinged nature. The performances are delightfully over-the-top, with George Eastman's sweaty portrayal of the playboy villain being a standout. The score is also worth mentioning, described as "demented," it enhances the depravity on screen.
However, the film is not without its flaws. The late shift into horror may be jarring for some, and the story itself is uneven, feeling like a set-up for the sex and violence rather than a cohesive narrative. This is a common issue with fake Emanuelle movies, of which this is a part, and while it has its moments of brilliance, it also feels exploitative and trashy.
In conclusion, "Emanuelle e Françoise (Le sorelline)" is a film that embraces its B-movie status and leans into the excesses of the genre. It is a wild ride that will appeal to fans of Euro-trash cinema and exploitation revenge flicks. It may not be a masterpiece, but it leaves an impression for its unabashed embrace of sex, violence, and sibling revenge.
The plot revolves around the titular characters, Emanuelle, a mature and seductive agent, and her sister Françoise, who find themselves entangled in a web of murder and intrigue. The story takes a twist when Emanuelle discovers that her sister has been murdered by an evil, playboy character, setting her on a path of vengeance.
The film is unapologetically explicit, featuring a steady stream of sexual content, including a three-way lesbian encounter, genital fondling, oral sex, and creative use of a wine bottle. The violence is also notable, with a detour into horror territory, adding a layer of unpredictability to the already titillating narrative.
While the cinematography and composition are commendable, with D'Amato's own photography enhancing the atmosphere, the real star of this film is its unhinged nature. The performances are delightfully over-the-top, with George Eastman's sweaty portrayal of the playboy villain being a standout. The score is also worth mentioning, described as "demented," it enhances the depravity on screen.
However, the film is not without its flaws. The late shift into horror may be jarring for some, and the story itself is uneven, feeling like a set-up for the sex and violence rather than a cohesive narrative. This is a common issue with fake Emanuelle movies, of which this is a part, and while it has its moments of brilliance, it also feels exploitative and trashy.
In conclusion, "Emanuelle e Françoise (Le sorelline)" is a film that embraces its B-movie status and leans into the excesses of the genre. It is a wild ride that will appeal to fans of Euro-trash cinema and exploitation revenge flicks. It may not be a masterpiece, but it leaves an impression for its unabashed embrace of sex, violence, and sibling revenge.
- MajesticMane
- 19 giu 2024
- Permalink
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By what name was Emanuelle e Françoise (Le sorelline) (1975) officially released in India in English?
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