"She was pure, now she’s dirty. You corrupted her with sex!"

What did I just witness? This was just scandalous.Repulsive trash

That horse scene WTF.Why was this included? It really disturbed me more than Cannibal Holocaust. There is no way you can defend this.This could have easily been simulated — why did they choose to do it for real??Also that ending just sucked, so wrong holy shit.

Honestly, besides that, it featured some great cinematography and a superb soundtrack. I will never understand how the most fucked up and disturbing Italian films end up having the most beautiful soundtracks ever.

I still love D’Amato — honestly, one of my favorite directors ever. But this wasn’t fun at all — just disgusting.

From what I’ve read and found, I understand that the X-rated films he made were primarily for financial reasons. These types of movies offered a much more reliable income compared to his more “artistic” work. This also explains his use of pseudonyms in his career.

I can’t say I would recommend it, though. (Just listen to the soundtrack, you won’t miss much.)

"She was pure, now she’s dirty. You corrupted her with sex!"

What did I just witness? This was just scandalous.Repulsive trash

That horse scene WTF.Why was this included? It really disturbed me more than Cannibal Holocaust. There is no way you can defend this.This could have easily been simulated — why did they choose to do it for real??Also that ending just sucked, so wrong holy shit.

Honestly, besides that, it featured some great cinematography and a superb soundtrack. I will never understand how the most fucked up and disturbing Italian films end up having the most beautiful soundtracks ever.

I still love D’Amato — honestly, one of my favorite directors ever. But this wasn’t fun at all — just disgusting.

From what I’ve read and found, I understand that the X-rated films he made were primarily for financial reasons. These types of movies offered a much more reliable income compared to his more “artistic” work. This also explains his use of pseudonyms in his career.

I can’t say I would recommend it, though. (Just listen to the soundtrack, you won’t miss much.)

i’ve never seen a film with a character study like this one. the way emanuelle has her life revolved around sex as if sex had two different personalities to it is very interesting and intriguing. emanuelle is constantly a calm and collected person, no matter the circumstance, always confident. interestingly she herself is self-conflicting but never insecure. the embodiment of impurity yet the perfect self being.

the film guides us into a sherlock holmes-esque adventure filled with sex, eroticism, corruption, ambiguity, curiosity and snuff. it’s strange how this film goes through these insights with the use of physical body language instead of just plain wordplay. although the visuals seems intimate, the moment really has no heat as if it’s trying to translate that the sensuality is one-sided.

splitting the concept of sex into two parts: intimacy and eroticism. showing the so-called attractive features and using the sound and score to convey its unattractive nature is genius. the toll that natural sexual nature has on us is inevitable, but it shows how much human connection is tempting. 

in ways it’s a horror movie with the shocking images of sexual violence. the world of the upper-class with its secretive sadistic nature. how money is used for most ridiculous things, how money is the way to get desires rather than needs. emanuelle is basically the hero that seeks morality and will do anything to get it for the people even if it means sacrificing herself.

i’ve never seen a film with a character study like this one. the way emanuelle has her life revolved around sex as if sex had two different personalities to it is very interesting and intriguing. emanuelle is constantly a calm and collected person, no matter the circumstance, always confident. interestingly she herself is self-conflicting but never insecure. the embodiment of impurity yet the perfect self being.

the film guides us into a sherlock holmes-esque adventure filled with sex, eroticism, corruption, ambiguity, curiosity and snuff. it’s strange how this film goes through these insights with the use of physical body language instead of just plain wordplay. although the visuals seems intimate, the moment really has no heat as if it’s trying to translate that the sensuality is one-sided.

splitting the concept of sex into two parts: intimacy and eroticism. showing the so-called attractive features and using the sound and score to convey its unattractive nature is genius. the toll that natural sexual nature has on us is inevitable, but it shows how much human connection is tempting. 

in ways it’s a horror movie with the shocking images of sexual violence. the world of the upper-class with its secretive sadistic nature. how money is used for most ridiculous things, how money is the way to get desires rather than needs. emanuelle is basically the hero that seeks morality and will do anything to get it for the people even if it means sacrificing herself.

😭😭

😭😭

Emanuelle in America sees Emanuelle return stateside, much like Black Emanuelle 2 did, just this time with Laura Gemser back in the lead role. In previous installments, Gesmer’s Emanuelle was relatively passive - at least in matters that didn’t pertain to sex. The story moved forward in spite of her rather than because of her. D’Amato takes full advantage of Emanuelle’s established career as a photographer and has her shift from travel photography to photojournalism. Her career makes her a larger presence within her own story, as she goes undercover and travels all over the world to blow the lid on human trafficking and sex trade. The “in America” part of the film’s title might as well be a misnomer, as New York is treated more like a home base for her character than anything else.

The sex is much more overt in Emanuelle in America over any other film thus far, with the much more pornographic elements taking up more screentime and playing a more central role in the film’s story itself. D’Amato’s direction feels grittier here somehow. It doesn’t feel as careful. This may be due to the shift to New York as the focus, as shots that are meant to showcase another country are filmed to take in more of the locale. The sex itself is more salacious, but it is not sensual in the same way these sorts of scenes were in the first film. It is more explicit, with penetration and other acts actually depicted as opposed to just implied. The more pornographic nature of the film does remove some of the punch of the film, at least until D’Amato’s makeshift in-universe snuff film occurs, presented as an 8mm film. Knowing that the in-universe snuff film is done with special effects doesn’t do much to make it feel any less visceral and raw. Those scenes are genuinely tough to watch.

It’s honestly wild, but not completely unbelievable, that this film inspired David Cronenberg’s Videodrome.

Emanuelle in America sees Emanuelle return stateside, much like Black Emanuelle 2 did, just this time with Laura Gemser back in the lead role. In previous installments, Gesmer’s Emanuelle was relatively passive - at least in matters that didn’t pertain to sex. The story moved forward in spite of her rather than because of her. D’Amato takes full advantage of Emanuelle’s established career as a photographer and has her shift from travel photography to photojournalism. Her career makes her a larger presence within her own story, as she goes undercover and travels all over the world to blow the lid on human trafficking and sex trade. The “in America” part of the film’s title might as well be a misnomer, as New York is treated more like a home base for her character than anything else.

The sex is much more overt in Emanuelle in America over any other film thus far, with the much more pornographic elements taking up more screentime and playing a more central role in the film’s story itself. D’Amato’s direction feels grittier here somehow. It doesn’t feel as careful. This may be due to the shift to New York as the focus, as shots that are meant to showcase another country are filmed to take in more of the locale. The sex itself is more salacious, but it is not sensual in the same way these sorts of scenes were in the first film. It is more explicit, with penetration and other acts actually depicted as opposed to just implied. The more pornographic nature of the film does remove some of the punch of the film, at least until D’Amato’s makeshift in-universe snuff film occurs, presented as an 8mm film. Knowing that the in-universe snuff film is done with special effects doesn’t do much to make it feel any less visceral and raw. Those scenes are genuinely tough to watch.

It’s honestly wild, but not completely unbelievable, that this film inspired David Cronenberg’s Videodrome.

can we bring back pornos with crazy sets and music and cinematography pls (WITHOUT the horses)

can we bring back pornos with crazy sets and music and cinematography pls (WITHOUT the horses)