The Frightened Woman aka Femina Ridens [Limited Numbered Edition, Region Free]
The director of The Frightened Woman, Piero Schivazappa, praised the version released by Shameless – saying: “..this is the version which you should watch” – when Shameless initially reconstructed and released this version, revealing the film as he’d originally intended. This is the version which is now presented on Blu-ray – pristinely restored from a 4K scan – finally doing justice to the exuberant 60s pop-art images and set design.
This definitive edition is further enhanced by a unique new interview with the iconic Dagmar Lassander where she relates the groundbreaking and provocative nature of the film.
The captivating Dagmar Lassander shines as Maria, a young journalist working for Dr. Sayer (Philippe Leroy), the head of a philanthropic foundation with peculiar views on humanity’s issues. When Maria is drugged and imprisoned by Dr. Sayer, she is subjected to increasingly sadistic acts by her captor, but she...
The director of The Frightened Woman, Piero Schivazappa, praised the version released by Shameless – saying: “..this is the version which you should watch” – when Shameless initially reconstructed and released this version, revealing the film as he’d originally intended. This is the version which is now presented on Blu-ray – pristinely restored from a 4K scan – finally doing justice to the exuberant 60s pop-art images and set design.
This definitive edition is further enhanced by a unique new interview with the iconic Dagmar Lassander where she relates the groundbreaking and provocative nature of the film.
The captivating Dagmar Lassander shines as Maria, a young journalist working for Dr. Sayer (Philippe Leroy), the head of a philanthropic foundation with peculiar views on humanity’s issues. When Maria is drugged and imprisoned by Dr. Sayer, she is subjected to increasingly sadistic acts by her captor, but she...
- 3/13/2024
- by Peter 'Witchfinder' Hopkins
- Horror Asylum
Hey everyone! We’re back with a whole new batch of home media releases that will be arriving on Tuesday, and it includes quite an eclectic array of titles that genre fans are going to want to check out. If you missed out on the previous edition, Arrow is releasing the Standard Special Edition of Legend this week which is absolutely worth checking out, and for all you cult film fans, Severin Films is showing some love to Don’t Go Into the House with their Special Edition presentation.
Kino Lorber is resurrecting Alberto De Martino’s The Antichrist on Blu-ray this Tuesday, and if you’re looking to catch up on some recent horror, Resident Evil: Welcome to Raccoon City and Student Body are both being released on multiple formats as well.
Other releases for February 8th include Santo: El Enmascarado De Plata Box Set, Bloody Mary, Hiruko the Goblin,...
Kino Lorber is resurrecting Alberto De Martino’s The Antichrist on Blu-ray this Tuesday, and if you’re looking to catch up on some recent horror, Resident Evil: Welcome to Raccoon City and Student Body are both being released on multiple formats as well.
Other releases for February 8th include Santo: El Enmascarado De Plata Box Set, Bloody Mary, Hiruko the Goblin,...
- 2/8/2022
- by Heather Wixson
- DailyDead
Above: the trailer for Miguel Gomes's new films, Arabian Nights, premiering soon in Cannes.For those lucky enough to attend the Venice Biennale, aside from a chance to see an exhibit by Albert Serra, curator Okwui Enwezor's show All the World's Futures includes work by Chris Marker, including Crush Art, Untitled 06, above. We'll be in Cannes and therefore miss the Museum of Modern Art's essential "Japan Speaks Out! Early Japanese Talkies" series, but Nick Pinkerton at Artforum has it covered."Actors appeared on the screen as if molded out of a liquid silver set aflame": Femina Ridens has a lovely report from the first ever Nitrate Picture Show.Above: the trailer, with English subtitles, for Johnnie To's new musical, titled Office.A tantalizing but also frustrating tease for Quentin Tarantino's upcoming The Hateful Eight arrives in the form of some behind the scenes and publicity images.
- 5/13/2015
- by Notebook
- MUBI
I first came to know of Radley Metzger through his posters, which bears out what the 85-year-old erstwhile king of high-class erotica told me recently, that “my respect for poster design came from my realization that more people would see my posters—for a longer period—than would see my films.” That should be rectified somewhat next week when the Film Society of Lincoln Center in New York embarks on a week-long, 8-film retrospective of Metzger’s legendary, ground-breaking “Art Cinema Erotica.”
The poster that first caught my eye was for a 1975 film directed by one Henry Paris. The film was the arrestingly titled The Opening of Misty Beethoven and I was struck by its combination of the austere and the voluptuous: its clean, monochrome simplicity, its beautifully balanced composition, and its nice use of the blocky serif typeface Clarendon, a favorite of mine. That juxtaposed with the lead-off quote...
The poster that first caught my eye was for a 1975 film directed by one Henry Paris. The film was the arrestingly titled The Opening of Misty Beethoven and I was struck by its combination of the austere and the voluptuous: its clean, monochrome simplicity, its beautifully balanced composition, and its nice use of the blocky serif typeface Clarendon, a favorite of mine. That juxtaposed with the lead-off quote...
- 8/2/2014
- by Adrian Curry
- MUBI
The final part in our series on Forgotten Gialli
My problem with the misogyny that runs through the giallo genre is not so much that it's there, but that it's so often unexamined. At least Sam Peckinpah's films seem to tell me something about the demons of insecurity, paranoia and loathing infesting his mind. I'm frustrated, for instance, that Dario Argento has portrayed the graphic mutilation-murder of women in his films so frequently (his own leather-gloved hands doubling for those of the killer), without ever seeming to take much interest in why this subject seems to obsess him. "I love women," he has said, "therefore I would rather show a beautiful woman being killed than an ugly man." Is it just me, or does that statement open up questions, and even paradoxes? For a former critic, Argento seems disinclined to analyze things.
Not only do the films not actively interrogate their own violence,...
My problem with the misogyny that runs through the giallo genre is not so much that it's there, but that it's so often unexamined. At least Sam Peckinpah's films seem to tell me something about the demons of insecurity, paranoia and loathing infesting his mind. I'm frustrated, for instance, that Dario Argento has portrayed the graphic mutilation-murder of women in his films so frequently (his own leather-gloved hands doubling for those of the killer), without ever seeming to take much interest in why this subject seems to obsess him. "I love women," he has said, "therefore I would rather show a beautiful woman being killed than an ugly man." Is it just me, or does that statement open up questions, and even paradoxes? For a former critic, Argento seems disinclined to analyze things.
Not only do the films not actively interrogate their own violence,...
- 9/27/2012
- by David Cairns
- MUBI
The Final Girl: A Few Thoughts on Feminism and Horror By Donato Totaro
One of the more important, if not groundbreaking, accounts/recuperations of the horror film from a feminist perspective is the 1993 Carol Clover's "Men, Women, and Chainsaws". One of the book's major points concerns the structural positioning of what she calls the Final Girl in relation to spectatorship. While most theorists label the horror film as a male-driven/male-centered genre, Clover points out that in most horror films, especially the slasher film, the audience, male and female, is structurally 'forced' to identify with the resourceful young female (the Final Girl) who survives the serial attacker and usually ends the threat (until the sequel anyway.) So while the narratively dominant killer's subjective point of view may be male within the narrative,the male viewer is still rooting for the Final Girl to overcome the killer. We can see this...
One of the more important, if not groundbreaking, accounts/recuperations of the horror film from a feminist perspective is the 1993 Carol Clover's "Men, Women, and Chainsaws". One of the book's major points concerns the structural positioning of what she calls the Final Girl in relation to spectatorship. While most theorists label the horror film as a male-driven/male-centered genre, Clover points out that in most horror films, especially the slasher film, the audience, male and female, is structurally 'forced' to identify with the resourceful young female (the Final Girl) who survives the serial attacker and usually ends the threat (until the sequel anyway.) So while the narratively dominant killer's subjective point of view may be male within the narrative,the male viewer is still rooting for the Final Girl to overcome the killer. We can see this...
- 12/21/2009
- by Superheidi
- Planet Fury
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