After repeatedly flaunting her peerless body to her servants, snobbish aristocrat Cecila (Muriel Montrossé) becomes the victim of rape. But the experience triggers a carnal awakening, full of socialite sex parties and woodland orgies. And before long, Cecilia finds her amorous adventures spinning out of control, particularly when her husband decides to join in on the free-love lifestyle in this racy entry from erotic auteur Jess Franco.
- Stars:Muriel Montossé, Antonio Mayans, Antonio de Cabo, France Lomay, Pierre Taylou, Olivier Mathot, Richard Darbois,
- Country:France, Belgium
- Director:Olivier Mathot, Jesús Franco,
- Writer:Jesús Franco, Marius Lesoeur (dialogue)
Cecila is raped. She goes home and has sex with her husband. She confesses to him that she had enjoyed the rape and it had aroused her to have sex with him after a long period of marital ... . You can read more in Google, Youtube, Wiki
Cecilia torrent reviews
(jp) wrote: Nice plot with an unseizable development ,so much potencial wasted on amazing actors and cinematography.
(de) wrote: Yawn. This film is part of the problem, not the solution. For French eyes only. You do not need to see it.
(gb) wrote: yea more fat jokes about ppl who eat their emotions away
(gb) wrote: A pretty solid thriller, and good to see LaBeouf before he was a cocky nobhead.
(de) wrote: This is my 2nd favorite movie among the Scooby-Doo movies (behind Zombie Island), but that is not exactally a good thing. Unlike Zombie Island this movie doesn't exactally have a high replay value. It has its moments, but most of them are quite boring with the most enjoyable part being when the song Brothers Forever comes on and plays and that being probably the only part of the movie with replay value. Is it a bad movie, no but it isn't a good one either. I do enjoy watching it every once in a while but thats it, and if I do see it on Cartoon Network I will watch it for good old memories but other than that its a decent movie with not alot of pay off.
(nl) wrote: A powerful movie which reminds me of American History X's soul transformation process of its protagonist.
(br) wrote: Bernie Mac deserves an academy award for this movie. I'm serious.
(br) wrote: If you only see one 3 hour long film about 19th century Italian peasants, make it this one.
(br) wrote: muy buena pelcula!
(ag) wrote: Mindless fluff, certainly nothing deep or meaningful here. Lots of car chases, very fast paced, good cinematography and of course lots of dust! The cast is fine, very 1970's.
(au) wrote: At the height of the American counterculture scene, a certain auteur named Michelangelo Antonioni, because of contractual obligations with producer Carlo Ponti and MGM, has set out to create "Zabriskie Point", an anti-consumerist film about the tattered fabrics of late '60s Americana. As we all know, the film, after being a critical and commercial disaster upon its initial release, has since amassed, among viewers, a silent cult following. For a film about counterculture (or, to a certain extent, even entirely counter-American), such 360-degree turn in terms of audience perception is just rebelliously perfect. In a way, it's as if the film, after being initially misunderstood, has emerged victorious against an improbable adversary. Antonioni, an artistic outsider merely dipping his fingers in a culture he does not fully understand, is an image of elegant audacity. But because of his perennially indifferent approach to emotions and a tad too reserved an execution, "Zabriskie Point" does not quite reach the utmost potential it most certainly has. Nevertheless, the film, for what it is worth both in the context of American culture and in the context of Antonioni's pulse as a filmmaker, is still quite a unique triumph. In a tumultuous time when demonstrations and cries of protests were brash and recklessly loud, "Zabriskie Point" is a film of quiet anger. And in the pages of Antonioni's cinematic play book, this is a most definitive approach. Depending highly on symbolic visual manifestations (the imagined mass orgy representing sexual liberation; the film's destruction of consumerist products captured in slow-motion) rather than on obvious imagery and contrived scenarios, the film feels fresh and, typical to Antonioni, alien. For the record, "Zabriskie Point" is never the definitive, all-American counterculture film. Instead, what the film actually represents, on Antonioni's part, is something personal and culturally detached. This is, after all, Antonioni's sarcastic love poem to America. By often framing his characters in front of commercial billboards displaying sandwich spread products and corporation names, Michaelangelo Antonioni was able to enforce his critique of the American 'way' without looking forced and too satirical. So "Zabriskie Point", in a way, is less a film than it is a state of mind. Typical to Antonioni's thematic style, the film wallows less on the nuances of humanity but more on why people are slowly losing it. In this film's case, 'capitalism' and 'mass consumerism' are the main culprits. But before everything goes too far, I do not think that the film is entirely political or even completely radical. If anything else, "Zabriskie Point" purely wallows on the futility of activism. That after all, making an anti-establishment film is just like writing an anti-glacier book (kudos to Kurt Vonnegut). Alas, Antonioni's indifferent brand of cinema, which has earned him both fans and detractors alike throughout the years, has worked yet again, and quite fascinating at that. Through the use of on-screen movements rather than words and dialogues, he was able to convincingly capture the essence of 'free love' during the time. The great example for this is the scene when our two protagonists, one a beautiful anthropology student (riding a car) and the other a rebellious young man (riding a small plane), show their subtle endearment to each other by way of "North by Northwest-esque" aerial communication. As touching as it is strange, Antonioni has made use of two very American manufactured products (the car and the plane) and turned them into objects that bridge human connection. And then of course, there's that famous orgy scene, performed with dream-like abandon by the Open Theatre and beautified by Pink Floyd's transcendental music. Moreover, the film, by highlighting both the barren landscapes of the empty, titular part of Death Valley and the hustle and bustle life within the product-emblazoned corners of mainstream America, is also a textbook exercise in great visual contrast. Generally speaking, "Zabriskie Point's" reputation was indeed highly damaged by the notoriety of its initial reception. For the film's producer and distributor, such failure spiels apocalyptic repercussions. But for a director like Antonioni, a man who is never new to countless boos and walk-outs (the Cannes screening of "L'avventura" comes to mind), such reaction is not a blemish to his ego nor his career but a mere solidification of his utterly divisive and infuriating power as a filmmaker. For some directors, a picture of "Zabriskie Point's" quality can already be considered as a pinnacle. But for Antonioni, it's a mere frolic within the western movie system that he despises the most, and the joke's on them.
(gb) wrote: 88/100, or an A- Not the "best comedy ever made", should that actually be a thing, but quite clever, funny, and endearing, and filled with excellent set-piece choreography; of course, I would expect nothing less from Billy Wilder. There's just as much belly-laugh broad humor as there is understated chuckles, like the way Curtis and Lemmon's characters overact in terms of voice and poise when in their various disguises, be they playing conservatory-graduate band-women or vaguely British oil barons. Also, the film makes some bold-for-its-time hints towards social commentary on male/female double standards and homosexuality in the '50s, which is a lot better than what I can say for a later (and also much less believable) variation on the drag premise, Mrs. Doubtfire, which is casually transphobic. Still could do without the skeezy trombone music that plays whenever Monroe makes her first couple appearances, but this is kind of a progressive film, and a final nail in the coffin for the Hayes Code to boot!
(ru) wrote: Favorite Jimmy Stewart film. It's so much fun to watch and enjoy.
(nl) wrote: This is the first movie to star Mae West and Cary Grant. The movie is a comedy set in the 1890's New York Bowery district. When this movie came out in 1933 anyone over 50 could remember the 1890's with nostalgia. The country was just coming out of 13 years of prohibition and was in the third year of the Great Depression. People were looking back at a time of 5 cent beer, open Saloons and a healthy economy. The movie was originally a play written by Mae West. The play was full of dirty jokes and women dancers with bare legs. In the 1890's women did not expose their legs except in Saloons and there were no beer bottles or beer cans. Beer came in kegs and to take beer home you had to get it in a bucket from a side window at a Saloon. Respectable women didn't go into Saloons. Only prostitutes and dancing girls went into Saloons. Mae West took the dirty jokes out of the movie but left the nude paintings, bare legged dancing girls and the atmosphere of a Saloon filled with men drinking beer and smoking cigars. In 1934 although prohibition has ended and you could by beer again, open Saloons were still illegal as was prostitution. This subject matter made this a controversial movie at the time. Today this is all very tame and there aren't anyone left alive who remembers the 1890's. This movie also has the famous Mae West quote, "Come up and see me sometime."
(it) wrote: It does literally nothing new. It just steals things from Chucky, Rosemary's Baby, and countless other better films. Just don't waste your time.
(au) wrote: A classic parody of the British class war in the 1950s. Boasts some classic lines...
(ca) wrote: Kind of a cautionary tale to young ladies growing up too fast. I thought by the cover, and how the film opened, it was going to be some teeny bopper film. And it started that way with three girls in the mall gawking at boys, and then it slowly turns dark.The last half hour is just creepy. Despite top billing, Treat Williams really doesn't show up until then and it's like a 30 minute seduction scene as this guy clearly in his 30's lures Dern, playing 15, out of the house for a drive which probably led to bad things. But watch Williams bait this young girl will make your skin crawl, he is THAT good in a bad way.Dern is fantastic too, but she looks way too old to be 15. She's really tall and full figured here, and she looks years older than her onscreen sister, who is older allegedly. I still could see the point was across, but the film would have been even creepier had they used someone that looked the actual age.William Ragsdale shows up for a small part too.
(ag) wrote: Very interesting reworking of Gojira for an american audience, adding Raymond Burr to the original Japanese film. It takes a lot of the strength of the story away, but still good enough to watch