Discover Top Posts Tagged with #exploitation movies

Christina Lindberg

#Christina Lindberg #swedish actress #70s babe #exploitation movies

My second film of the day.

#current viewing #plex #1970s #exploitation movies #john carradine #uschi digard #candy samples

Watched Ms .45

Immediate and utter immersion. Something about Ferrara's world is just so instantly real that no time need be wasted convincing the audience of its reality. Saturated with itself. Tamerlis' Thana does not just inhabit the scummy New York we see before us, she shapes herself around the setting and vice versa. The barriers between the body and the world are punctured and then dissolve, and the raw will of the victim is left, alienated from its vessel and so free to shape it as it shapes the world. This will is left to be acted upon, or to act. She acts.

In two short scenes Ferrara creates the most terrifying masked man I have ever seen.

#movies #movie review #ms .45 #abel ferrara #zoë tamerlis #zoë lund #albert sinkys #editta sherman #thriller movies #80s movies #1981 movies #exploitation movies

Robbie Lee as "Lace" in Switchblade Sisters (1975)

Dir. by Jack Hill

#robbie lee #jack hill #switchblade sisters #exploitation film #exploitation movies #1970s #film

“Having resurfaced late in life due to a revival of her sex films, an eighty-nine-year-old Doris Wishman, clad in leopard print and wedge sandals, appeared on Late Night with Conan O’Brien in 2002 … Born in 1912, a Jewish New Yorker and child of Ukrainian émigrés, Wishman was hardly ordinary. By the time of the Conan interview, which aired five months before her death, she had titillated and bewildered adult and cult film audiences for many decades with idiosyncratic movies rife with sexual degradation, grotesque and preposterous bodily perfidy, and, as one of her advertisements blared, “Girls without Restraint!” Among the most prolific American women directors of the postwar period, her vastly eccentric body of work, counting thirty features, remains unknown to many film connoisseurs … Entirely self-taught, she came to moviemaking as a widow in middle age, producing her first film, the nudist escapade Hideout in the Sun, with $20,000 borrowed from her sister Pearl. Before long, she was the biggest producer of nudist camp pictures, releasing eight in the early ’60s before shifting into black-and-white sex melodramas, or “roughies,” as the sexploitation mode adjusted to darker, more violent subjects and a grittier aesthetic inflected by noir, art cinema, and variants of realism … The pleasures of watching Wishman’s bawdy, crass, absurd, and kitschy skin flicks heighten across their proliferative form, as the gimmicks, stiletto heels, polyester curtains, ashtrays, vases, and black lace panties pile up from reel to reel.”

/ From “Who’s afraid of Doris Wishman?” by Elena Gorfinkel in Artforum, September 2022 /

In Memoriam: pioneering high empress of low-budget sexploitation, smut peddler, vintage sleaze icon and true naïve low-brow outsider artist Doris Wishman (1 June 1912 – 10 August 2002) died on this day. I treasure her films Blaze Starr Goes Nudist (1962), Bad Girls Go to Hell (1965), The Sex Perils of Paulette (1965), Deadly Weapons (1973) and Double Agent 73 (1974). Pictured: leading lady Chesty Morgan in Wishman’s Double Agent 73.