A C0llecti0n of Ince5t5 Part 2

DGenX · #1 13th April 2009

Angels and Incests

Caps

William Adamson (Mark Rylance), a poor naturalist, returns home to Victorian England after having spent years along the Amazon River studying all kinds of animals, mainly insects. William is penniless, having lost all his possessions during shipwreck. Nevertheless he manages to befriend Sir Harald Alabaster (Jeremy Kemp), an amateur insect collector and botanist. Sir Harald hires William to teach his younger children about insects, assisting their nanny, Matty (Kristin Scott Thomas).
He strikes up a flirtation with Sir Harald's daughter, Eugenia (Patsy Kensit), who is still mourning the suicide of her fiance. William and Eugenia quickly fall in love and lust and decide to marry. Their ceremony is shown as concluding in the marriage bed with the happy couple having enthusiastic sex. Sir Harald and his wife Lady Alabaster eagerly grant their approval of this match, but Eugenia's older brother Edgar (Douglas Henshall) takes an intense dislike to William, never passing up the opportunity to pick fights with him or to remind him of his humble working class background: "You're not one of us."

After the marriage, Eugenia produces five children in quick succession. She insists on naming the first boy "Edgar", after her brother. William never warms to the children, instead spending his time studying a colony of red ants with Matty and various children of the house. He writes a book about their observations, which is quickly accepted by a publisher. Eugenia's sister, Rowena, bursts into tears and runs from the room during a card game, and her husband explains that it is very hard for her, as William and Eugenia have been 'so blessed' with so many children, and she is still childless.

One day, during a hunting excursion, William is summoned back to the house by a servant boy who claims that Eugenia wishes to speak to him. He walks into the bedroom, surprising Eugenia and Edgar while they are engaging in incestuous sex. Eugenia then confesses that she and Edgar had been having sex with each other for years and that her fiance committed suicide after discovering this. Eugenia also tells William that even though she knew it was wrong for her to have sex with her brother, it didn't quench her desire to do it.

William then tells Eugenia that he is leaving her and the children, the latter of which he is now convinced were fathered by Edgar in any case. However, he does promise not to tell Sir Harald the real reason behind his departure reasoning that the truth would injure the old man's health.

William then confides in Matty, whom he has become quite close to during the years. Although she denies having sent the servant after William, she does admit that she knew of the incestuous relationship that Eugenia had with Edgar and that the other servants knew as well. William then tells Matty of his desire to go back to the Amazon and not return. Matty reveals that she has booked two tickets on a boat departing shortly to the Amazon. William is initially reluctant for them both to go; despite his attraction to Matty, he doesn't feel that the rain forest is a suitable place for a woman. After she promises to help him in his work, and reveals that she loves him, William acquiesces to her plan. The movie ends with William and Matty departing in a coach while the saddened Sir Harald looks on.

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Brotherhood of the Wolf

Caps

The movie begins during the French Revolution with the aged Marquis d'Apcher (Jacques Perrin) as the narrator, writing his memoirs in a castle, while the voices of a mob can be heard from outside. The film flashes back to the mid 1760s when a mysterious beast terrorized the province of Gévaudan and nearby lands.

Grégoire de Fronsac (Samuel Le Bihan), a knight and the royal taxidermist of King Louis XV of France, and his Native American companion Mani (Dacascos), an Iroquois, arrive in Gévaudan to capture the beast. Upon arrival, they rescue an aged healer and his daughter from an attack by soldiers. The young and enlightened Thomas, Marquis d'Apcher (Jérémie Renier), befriends them and assists their investigation.

Fronsac is initially skeptical about the beast's existence, since survivors describe it as much larger than any wolf he has ever seen. However, by studying the bite size on a victim of the beast, he deduces that it must weigh roughly 500 lb (227 kg). Captain Duhamel (Eric Prat), an army officer leading the hunt for the beast, has killed dozens of ordinary wolves, but has not come close to the actual killer.

While staying in Gévaudan, Fronsac romances Marianne de Morangias (Émilie Dequenne), the daughter of a local count, whose brother, Jean-François (Cassel), was also an avid hunter and a world traveler, before losing one arm to a lion in Africa. Fronsac is also intrigued by Sylvia (Bellucci), an Italian courtesan at the local brothel.

While investigating another victim, Fronsac finds a fang made of steel, and his doubts of the Beast's existence thicken. Another witness swears that the Beast is controlled by a human master. Fronsac studies the patterns of the attacks and victims, trying to find a common thread and reveal a murderer. As the investigation proves to be unfruitful, the king's weapons master, Lord de Beauterne (Johan Leysen), arrives to put an end to the Beast. But instead of doing so, Beauterne kills an ordinary wolf and tells Fronsac to alter the corpse so it resembles the monster accordingly. Fronsac hesitantly does so, and the bogus wolf is sent back to Paris, where it is put on display, much to the pleasure of the king and the French aristocracy.
In Paris, the king’s advisor shows Fronsac a copy of a book titled L'Édifiante ["The Edifying"] with treasonous theories, stating the Beast has come to punish the King of France for his indulgence of the philosophers, and that the modern embracement of science over religion is heresy. Fronsac realizes that the Beast is an instrument of a secret society, The Brotherhood of the Wolf, working to undermine public confidence in the king and ultimately take over the country.

Fronsac is told that "officially" the Beast is dead, warned to keep his mouth shut, and bribed with an appointment to travel to Senegal. Back in Gévaudan, the attacks by the real Beast continue.

Ignoring his orders, Fronsac returns to Gévaudan, determined to put an end to the Beast's killings, and also to take Marianne away. Upon his return, the Beast attacks and he sees it with his own eyes. It kills a man, but mysteriously refrains from attacking Marianne.

Fronsac, Mani, and the Marquis set out into the forest and set up an array of traps to capture the Beast, but it proves to be too powerful and intelligent to be captured by anything they can set up. After a violent encounter, Mani sets off solo in pursuit, where he finds a catacomb used as the Beast's holding pen, inhabited by the Brotherhood and a band of Gypsies working with them. These include, ironically, the elderly veterinarian, the Beast's tender, and his daughter, whom Mani saved. Outnumbered and distracted by the daughter, Mani is shot in the back, overwhelmed and killed, but not before slaughtering a good number of his attackers.

Fronsac is broken when he discovers his best friend has been murdered. Performing an autopsy, he finds a silver bullet, Jean-François's signature weapon. In a fit of rage he goes to the catacombs and seeks revenge, finding a pile of copies of L'Édifiante. He kills many of the Gypsies and discovers the Beast's lair before leaving so that he can burn Mani's body at dawn. After collecting Mani's ashes, he is then overpowered by the local authorities and imprisoned. Sylvia visits him in jail and reveals to him that she is a spy for the Vatican. The local priest, Henri Sardis (Jean-François Stévenin), is the leader of the Brotherhood, believing that he is restoring worship of God to France. Pope Clement XIII has decided that Sardis is insane, and sent her to eliminate him. She then poisons Fronsac, telling him he knows too much.

Fronsac is presumed dead, and buried, when in fact Sylvia's poison has only put him into a temporary coma. Henri Sardis wants to kill Marianne, and he persuades Jean-François to do so (as a way to combat his incestuous lust for his sister). Jean-François comes to Marianne's room and reveals to her that he is the Beast's master; it recognized his scent when it came near her, which is why it did not attack. He also reveals that his right arm is in fact intact, albeit badly scarred, and he has kept it hidden to maintain a seemingly harmless identity. Jean-François then rapes and nearly kills Marianne.

Sylvia's agents exhume Fronsac and he appears at one of the Brotherhood’s secret sermons. In the climactic battle, he kills several Gypsies and duels Jean-François to the death. The other members of the Brotherhood attempt to flee, but they are corralled and arrested by Captain Duhamel and his men. Sylvia personally kills the Gypsy veterinarian's daughter. Sardis escapes into the mountains, but is mauled to death by a pack of wolves (their leader being the same wolf that survived the previous slaughter, was seen chasing the Beast with its pack and seemingly bonded at a spiritual level with Mani), in an example of poetic justice.

Fronsac attempts to heal Marianne with a potion carried by Mani. He and the marquis Thomas go to the Beast's lair, where being tended to by the veterinarian, it lies grievously wounded after the fight in the forest. It turns out the Beast was an offspring of a "strange beast" that Jean-François brought back from Africa (which director Christophe Gans insists is a lion[4]). It was tortured into becoming vicious, trained to attack humans, and dressed in metal armor plating and spikes along with a large mask and metal implants in its jaw to make it more formidable and frightening. Fronsac takes pity on the dying creature and kills the Beast in an act of mercy.

The film then returns to the opening time period of the French Revolution. The now-elderly Marquis d'Apcher finishes writing his account of the killings, just before he is led to his execution by a revolutionary mob.

In the final scene, the Marquis has a flashback, in which he narrates that he does not know what happened to Fronsac and Marianne but he hopes that somewhere, they are happy together. Fronsac is shown traveling to Senegal with Marianne to start a new life together, scattering Mani’s ashes at sea. It is left unstated whether the two are alive and happy or whether this is indeed the Marquis' dream.
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Brother of Darkness

Caps

Ivan Lai brought to the screen Daughter Of Darkness and its non-related sequel. Those movies were basically the same but did suitably retain the notion that you can't hold back when it comes to the kind of Category III cinema we're talking about here. However during this era a filmmaker by the name of Billy Tang (for some reason nicknamed Bloody) emerged on the scene and created two very memorable, the latter being a genre classic, entries called Dr. Lamb (co-directed with Danny Lee) and Run And Kill. So when veteran Cat III producer Kimmy Shuen wanted to bring back the cast of the original Daughter Of Darkness for a final showdown, they turned to director Tang. Knowing what Ivan Lai did with the franchise, a question arises; can or will Billy Tang take the darkness up a few notches? Bring on Brother Of Darkness!

Wong Kuen To (Hugo Ng) lives with his adopted grand parents but it's far from a happy or safe family existence. His brother Wah (William Ho) constantly threats the family and wants nothing to do with his adopted brother, gravely abusing him because of it. With Wah in prison the family tries to live happily and To's girlfriend Jenny (Lily Chung) seems like a great step towards that. But once again, Wah is let out and continues his domination over the family..

Just so you don't have to wait for the answer to my question above. No, Billy Tang hasn't taken the darkness or graphic violence up a few notches from Daughter Of Darkness but done something even better, made an actual good Cat III film! Tang scored high points for setting aside the conventional flashback plot structure and comedy in Run And Kill but keeps the former in Brother Of Darkness. From the opening frames though, it's clear that we're looking at a director with a far better vision and dedication to the genre however. The opening is a beautiful slow motion shot of the aftermath of the main crime, shot in low angle and telling of a grim event that has occurred. I commended Ivan Lai for a similar, in meaning, shot from both Daughter Of Darkness movies but if you had to compare, Ivan's way is more forced, Billy is more concentrated. For the flashback structure in Brother Of Darkness, we're instead lead straight into the courtroom for a change (via some excellent Tony Mau camerawork). Usually these movies lets the back story play out in the interrogations.

Now, working from a well structured script by Kong Heung Sang, Billy begins his not too unrealistic tale of domestic abuse. Those of you expecting a gore fest can leave now, this is an erotic drama with physical and physiological violence being an important part. The director doesn't make the mistake of starting with darkness and then letting us wait a long time for it while the cast is clowning around. One, there is not barely any silly humour in this and two, we're thrown right into the plot that is then going to show us the violence and erotica that in the end takes us to the courtroom. Basically divided into two acts, first one shows the abusive situation further back and currently To's life, with his brother already in control of the family. As we watch him grow up, he has to become the protector of them because Wah isn't about to change. When we move on to act two, we see the tragic romantic part of the film via To's and Jenny's struggling relationship. This is where I was completely surprised by, not so much that the writing was exceptional, but how sad and touching this section is. As the couple, you couldn't ask for a more likable duo than Hugo Ng and Lily Chung (now in reversed situations compared to Daughter Of Darkness). Childhood friends and sweethearts, they are so right for each other but the abuse towards To has left him emotionally scarred and impotent. This latter aspect could've easily not worked for one second but the sincere writing and Tang's handling of it, mixed with fairly good erotic scenes, makes for involving viewing not only due to nudity on display but because there is a serious intent with it. There's so little exploitation here compared to previous Cat III films in the same vein and a feeling of genuine love instead.
The sex scenes are of the softcore kind and well-shot but Tang injects some human touches when it comes to the shyness between the young couple. In other words, Tang is pleasing the audience on a commercial level while still having these scenes be an actual part of the narrative. If there's criticisms to be uttered regarding the erotica, it is that Lily Chung's masturbation scene, while very important believe it or not, does cater too much to the male audience and not enough to the film's favour. William Ho's over the top sexual behaviour in some scenes also renders some sliiiiight unnecessary comedy but get this, there is no actual scene of rape in the entire film, only an attempted one. It all logically culminates in the finale, after To's years of abuse and there's some unexpected character turns for this genre worthy of praise. Billy Tang's handling of the narrative and its subject matter probably remains the most mature I've seen. This may even be more acceptable for those who have voiced their opinion against the genre before

Jonathan Wong hasn't fully lived up the fine music work he did for Dr. Lamb but his contribution to Cat III scores is always memorable, even if the one for Brother Of Darkness works only as a basic mood setter. Tony Mau, DP on several of these films, uses his blue filters to a better degree than most while also showing accomplished camerawork throughout, in particular during the mentioned beginning.

Hugo Ng is a perfectly acceptable leading man, displaying fine presence in most scenes and fairly convincingly going through the emotions needed. Even gets to do a small bit of action which fits in the movies structure since it's really about short brawls. It's more the stunt work that shines, mainly William Ho's stunt double but was there really need for 3 action directors on this? Either way, William Ho is his usual loud mouthed, horny psycho but there's a bit more menacing depth to him than previously seen. Still the same performance basically as we saw in the Daughter Of Darkness films but he's such a staple of these movies so it doesn't really hurt the movie obviously. However Lily Chung once again emotes so much sympathy with her performance. Playing Jenny, clearly in love with To and desperate to make the love fully work but having to face huge obstacles few women would dare to try and conquer. Not only is she stunning but have displayed fine acting chops for the genre before and does so again in Brother Of Darkness. Anthony Wong puts in solid support as the Prosecutor.
What a surprise! After watching Billy Tang's Brother Of Darkness, it's time to quote it as one of the best and mature pieces of Category III cinema. It may look and feel like any other genre effort but those serious and those curious I hope will see a good load of artistic merit from the top director of the genre.

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DGenX · #2 13th April 2009

DGenX · #3 13th April 2009

Dr. von Frankenstein neglects his duties towards his wife/sister, as he is obsessed with creating a perfect Serbian race to obey his commands, beginning by assembling a perfect male and female from parts of corpses. The doctor's sublimation of his sexual urges by his powerful urge for domination is shown when he utilizes the surgical wounds of his female creation to satisfy his lust. He is dissatisfied with the inadequate reproductive urges of his current male creation, and seeks a head donor with a greater libido; he also repeatedly exhibits an intense interest that the creature's "nasum" (nose) have a correctly Serbian shape. [1][2]

As it happens, a suitably randy farmhand leaving a local brothel along with his sexually repressed friend, brought there in an unsuccessful attempt to dissuade him from entering a monastery, are spotted and waylaid by the doctor and his henchman; mistakenly assuming that the prospective monk is also suitable for stud duty, they take his head for use on the male creature. Not knowing these behind-the-scene details, the farmhand survives and finds his way to the castle, where he is befriended by the doctor's wife; they form an agreement for him to gratify her unsatisfied carnal appetites

Under the control of the doctor, the creature, with the monk-to-be's head, serves the castle's residents and guests at dinner, but shows no signs of recognition of his friend. The farmhand realizes at this point that something is awry, but himself pretends not to recognize his friend's face until he can investigate further. After a falling out with the doctor's wife, who is merely concerned with her own needs, he is captured by the doctor while snooping in the laboratory; the doctor muses about using his new acquisition to replace the head of his creature, who is still showing no signs of libido. Nevertheless, the doctor's wife/sister is rewarded for betraying the farmhand by being granted use of the creature for erotic purposes, but is killed during a bout of overly vigorous copulation. Meanwhile the jealous henchman repeats the doctor's sexual exploits with the female creature, resulting in her graphic disembowelment. The doctor returns and, enraged, does away with the henchman; when he attempts to have the male creature eliminate the farmhand, however, the remnants of his friend's personality rebel and the doctor is killed instead in gruesome fashion. The creature, believing he is better off dead, then disembowels himself. The doctor's children enter the laboratory, and as the film ends, appear to be about to renew the doctor's experiments with the farmhand, who is still hanging suspended by his wrists.

The gruesomeness of the action was intensified in the original release by the use of 3-D, with several dismbowelments being shot from a perspective such that the internal organs are thrust towards the camera.

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Password: theseekersoasis.org

Incesti in Fattoria

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The Cement Garden

In The Cement Garden, the father of four children dies. His death is followed by the death of the children's mother. In order to avoid being taken into custody, the children hide their mother's death from the outside world by encasing her corpse in cement in their basement. Two of the siblings, a teenage boy and girl, enter into an incestuous relationship, while the younger son starts to experiment with transvestism.

The narrator is Jack (15), who has two sisters, Julie (17) and Sue (13), and one brother, Tom (6). When they were younger, Jack describes how he and Julie would play a 'game' with their sister Sue. This game involves stripping Sue of her clothes and inspecting her intimate body parts as if they were scientists observing a new life form. Jack then mentions how he longs to do the same to his older sister but it was not allowed.

When Julie begins to date a man called Derek and invites him round to their house, Jack feels jealous and shows hostility towards him. Derek becomes more and more interested in what is hidden in their cellar but the children attempt to hide it from him. When a smell begins to emanate from down there, he helps to reclose the trunk their mother is hidden in. Jack eventually learns from Tom that Derek has told his brother that their mother is down in the cellar.

The story comes to a climax when Jack enters, apparently absent-mindedly, naked into Julie's bedroom. Only Tom is there and he begins to talk to him. Soon, Julie enters and perhaps surprisingly, does not say much or show surprise on his nakedness, only to joke that 'It is big'. They sit on the bed and whilst talking, they become more and more intimate with each other. Soon Julie is holding out her breast to Jack and encouraging him to go on. He begins to suck it. Right at this point Derek enters, remarks that he has seen it all at last and calls them 'Sick'. When he is gone, they begin to have sex. A thudding noise can be heard and their sister informs them that Derek is smashing up the concrete coffin. They begin to talk, remembering their mother, and after a while, they sleep, while police lights illuminate the room through the window.

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The Diary of Loving Wife (Devoted Wife)

"They taste great, because they taste like you do down there! No other cigarette tastes that great!¡¨ Chiho has prohibited her husband, Takahashi, from smoking while she is trying to become pregnant. Takahashi hasn't told his wife he was laid off, and has a paid sexual encounter with a high-school student, attracted by the pungent odor of her cigarettes, ¡¥Peace Regulars. That evening, Chiho became outraged by the foul odor of the ¡¥Peace Regulars saying it reminded her of an elderly relative having shoved the same brand of cigarettes into her genitals in the distant past. In fact that memory was not Chiho¡¦s, but that of her twin sister, Kaho
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The Diary of Loving Wife (White Room)

The film is about a nine-year-old boy's (Biel Durán as Tete) obsession with women's breasts. Tete becomes jealous of his baby brother who is breast fed by their mother. Tete goes on a personal mission to find the perfect pair of lactating breasts to feed on. A beautiful French dancer (Mathilda May as Estrellita) arrives in town, the answer to Tete's prayers. Unfortunately for Tete, Estrellita is the attention of many men's affections including her dance partner/boyfriend Maurice (Gérard Darmon) and attractive Flamenco-singing teenager, Miguel (Miguel Poveda). With this amount of competition will Tete fulfil his wish?
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Taboo American Style I

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Taboo American Style II

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Taboo American Style III

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Taboo American Style IV

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Farmers Daughters

In the spring of 1992, Saskatchewan's Jake Leiske talked Alberta's Shauna Rae Samogard into forming a country music band. Jake and Shauna Rae had toured together before with their family's gospel group when they were 5 and 2 years old, respectively. By the fall of that same year, they joined forces with Manitoba's Angela Kelman, to form Farmer's Daughter.

In 1993, the Vancouver-based group independently released their debut album, Girls Will Be Girls, on Stubble Jumper Music. The album generated seven hits, including "Borderline Angel," "Family Love," "I Wanna Hold You" and a cover of the Dusty Springfield hit "Son of a Preacher Man." Girls Will Be Girls was named Album of the Year by the British Columbia Country Music Association (BCCMA) in 1994, and the band won the Vista Rising Star Award from the Canadian Country Music Association (CCMA) the following year. They swept the 1996 British Columbia Country Music Awards, winning Entertainer of the Year, Group of the Year, as well as Song and Single of the Year awards for "Borderline Angel."

In 1996, Farmer's Daughter signed to Universal Music Canada and released their second album, Makin' Hay, in September. The album went gold in Canada and produced five more hit singles, including "Lonely Gypsy Wind," "Now That I'm On My Own," "You Said" and the top 5 "Cornfields Or Cadillacs." They were named Group of the Year by the CCMA in 1997, Best Country Group or Duo at the Juno Awards in 1998, and both Group and Entertainer of the Year by the BCCMA in 1997 and 1998.

Their third album, This Is the Life, was released in October 1998, also by UMG Canada. They took a more hands-on approach, producing the album with Marc Ramaer (K.D. Lang). Two singles from the CD reached the Canadian Top 10, "Freeway" and "Blue Horizon." Farmer's Daughter continued their domination at the BCCMA Awards in 1999, winning Entertainer of the Year, Group of the Year, Song of the Year ("Blue Horizon"), Single of the Year ("Blue Horizon") and Album of the Year (This Is The Life).

The band released their greatest hits album, The Best of Farmer's Daughter, in 1999. The CD included 11 of Farmer's Daughter's biggest hits, along with two new songs, "Walkin' In The Sunshine" (#8) and "You And Only You" (#12). They were once again named Entertainer of the Year and Group of the Year by the BCCMA, along with Single of the Year for "Walkin' In The Sunshine."

The original three band members did their last tour in 2001, and did not go public with any information as to why they decided to stop playing together. All three women have been working on solo projects and personal goals. On June 16, 2008, Farmer's Daughter played an exclusive reunion show at the Winspear Center in Edmonton, Alberta, Canada. There is speculation that they may be recording together again, however there has been no official statement from the band.

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