Contents:
R 95 min Drama, Romance. A coming of age story centering on the exploits of a young girl during summer vacation. R 95 min Fantasy, Mystery, Sci-Fi. To escape a gender war, a girl flees to a remote farmhouse and becomes part of an extensive family's unusual, perhaps even supernatural, lifestyle. Not Rated 80 min Drama, Romance. Spanish actor Jose Antonio Ceinos stars as a down-and-out sculptor, whose inspiration returns with the strange appearance of a beautiful, mysterious black muse. This Showcase Original Series is an erotic anthology that explores the desires, passions and fantasies of women.
R min Drama, Romance. In s Italy, a romance blossoms between a seventeen year-old student and the older man hired as his father's research assistant. Deborah De Robertis Star: A fugitive on the run from the law and carrying several million dollars hides out in the house of a farm family. The tables turn when the family turns out to be even more criminally Freely inspired by the sensual and free-spirited character of Bizet's 'Carmen'.
Erotic version of the well-known novel "Carmen" of Merimee with the use of the music from the opera of the same name from Georges Bizet. Carmen is a beautiful Gipsy girl and attracks many While the wedding of her older unprepossessing sister Louise to a wealthy aristocrat is being celebrated, sixteen-year old beauty Caroline falls in love with an attractive R min Comedy, Drama.
A coming of age story; Philippe Patrice Pascal has sex with their maid. But he also has incestuous desire for his mother, Nadia Nicole Avril. His father also has sex with maid. R min Comedy. A young American woman Sydne Rome traveling through Italy finds herself in a strange Mediterranean villa where nothing seems right. Her visit becomes an absurd, decadent, oversexed Unrated 53 min Drama. Unrated min Comedy, Drama, Fantasy.
A Two young girl has lived in Paris special to sincerely, and they must have sexually contact starts to secret things. R 86 min Comedy, Drama, Romance.
The son of a courtesan retreats into a fantasy world after being forced to end his relationship with the older woman who educated him in the ways of love. Marcel is a taxi driver who luckily pickups a gorgeous woman who begins to undress herself while in the back seat. Soon she leads him to a Private Club where he can pick any woman he wants Unrated min Drama, Fantasy. A solitary sailor falls from his boat and washes ashore on a tropical island.
While seeking rescue, he's found by a nearly naked woman who is playful and compliant. Unrated 54 min Drama, Romance. Sebastien is a small town boy who moves to Paris and begins to explore the gay night life there. When a friend from back home calls to announce he's coming to Paris, Sebastien confronts some unrequited feelings. Bernard Alapetite , Cyril Legann Stars: An erotic collection of short stories, an anthology comprised of tantalizing tales about sexual desire and its diverse manifestations. Three women are secretly plush prostitutes.
They are successively called by a mysterious person to have sex with three different men and assuage their weird fantasies. Jeanne Kern is a history teacher in a private mixed class.
Though superficially unsavoury, this juxtaposition alerts us to some important aspects relating to the pictorial or iconic qualities of comics. You now have the unique opportunity to purchase this lot. Our criteria for the referentiality of the comics icon are less demanding. Not Rated 80 min Drama, Romance. As such, the comics icon invites us to search for a referent, which may not be immediately apparent and may require decoding, but is nearly always there. And, of the relatively small number of living French writers deemed to be important, a high percentage which would include Christine Angot, Marie Darrieussecq, Annie Ernaux, and Philippe Forest practice some form or other of self-fictionalisation. Olivier Ducastel , Jacques Martineau Stars:
Passionately provocative, she does not ignore the effect she has on men. Not Rated 27 min Short, Drama, Romance. Fictionalized from a true story, this docu-drama takes us on a journey through Brazil's Mato Grosso do Sul and into the lives of Brazilian gauchos. Beautifully shot landscapes form the Jean Baptiste Erreca Stars: Olivier Ducastel , Jacques Martineau Stars: R min Drama, Mystery. Hugo, a vain clothing buyer, meets Myriam on a train and pursues a relationship with her. He is delighted to learn she is a prostitute and has no idea she has more in mind than Hugo bargained for.
TV-MA 94 min Thriller. And it explains why the reader of comics is more likely to think of the combination of pictures and words not as a text existing in relation to a world outside of the text, but as the prospect of an adventure into a world which may or may not form part of his or her actual world but which is also always in some small measure a pleasant regression into childhood. Are their readers turned on, referentially, by these images? Matthew Kieran argues that great artists such as Rodin and Klimt developed new techniques of drawing, possibly with the purpose of exploring the power of representational art to elicit sexual arousal Neil and Ridley, pp.
Our criteria for the referentiality of the comics icon are less demanding. The images do not refer to real people but are simply traces. I write a lot about the Middle East, so I write about violence. Violence today has become something so normal, so banal — that is to say that everybody thinks it normal. To draw and put it in colour — the colour of flesh and the red of blood, and so forth — reduces it by making it realistic Copley.
The most striking aspect of this graphic style is the depiction not of the self as child but of groups of people and things: The direction is always from the subject outwards. Head in hands, staring mournfully down at a table, she, as a young girl, features in a panel that replicates in miniature the disaster at the cinema, showing the detached heads of God and her father being wafted diagonally towards the heavens. And, for this is a feature so prominent that it should be reiterated, it is a self which is frequently shown among and in relation to others.
From the opening page, in which there is a panel depicting a row of six Islamist demonstrators crooking their elbows in unison, the reader is struck by the multitude of human forms, like figures in the ancient Persian paintings arranged in linear sequences, or sometimes plucked out of their physical environments and dropped into circular, swirling patterns.
In trying to process the information that a family friend has been tortured and dismembered, Marji reaches the limits of her imagination. With Persepolis , the simplicity of style belies a forest of references. However, the historical context of Persepolis points the reader towards other historically specific considerations. As she prepares to return to Iran, she ceremonially veils her face once more.
In Volume 4 the possibilities of cultural assimilation are entertained.
She also attends aerobics classes and returns to university, where her frank speaking is tolerated. Later she marries, then quickly divorces. A pivotal event occurs when the Moral Guardians bust a private, adult party. These conventions are not usually explicit. However, though it is often hard to define what they are, it is easier to say what they are not.
So the eclectic, the quirky, that which is not run-of-the-mill, finds its home in middlebrow culture. The text is strongly empathic.
In our second example, interpretation of the political significance of the comics icon comes under a spotlight that puts all other considerations in the shade. It occupies this role thanks to its penchant for the grotesque, the propensity for exaggeration and distortion, which is its defining characteristic but which also means that the caricaturist is impelled always to push at the boundaries of taste and decency, thereby implicitly or explicitly raising questions concerning freedom of expression.
The sketchers at satirical magazines such as Hari-Kiri which later became Charlie Hebdo , whose work also appeared in the daily broadsheets, delivered cutting-edge, liberal perspectives on current affairs and lifestyles into the homes of the bourgeoisie. So, to some extent, liberal, state-sanctioned Republican values became conflated with the freedom to ridicule authority figures in the form of demeaning, graphic representations, and these authority figures included religious leaders and prophets.
Rarely had the sense of the caricature as a touchstone for freedom of expression been so sharply defined. Others have defended him against accusations of orientalism, arguing that it is possible to address the politics of the Middle East without necessarily being an activist, and that a comics book should not be read as an all-encompassing representation of life in Arab countries. In this debate the stakes are high and judgements can be hasty, so context is very important.
Even more pervasive is the idea that the identity and career of the author imparts an a priori authenticity to the project that must bear down upon the debate, when questions over truth and reliability are innate to the genre of the graphic memoir. The most obvious feature of the two volumes is the colour symbolism. Sattouf has suggested that these transitions from one colour to the next are intended to convey the disorientating impact on a young child of moving between different cultures.
However, these are not garish, fairground colours but sketches washed in pastel shades, evoking the indistinctness of early childhood.
In contrast to the punchiness of Persepolis , in which events succeed each other rapidly in sharply delineated chapters, these coloured slabs of existence flatten the passage of time. And, although the narrative voice in the captions is identified with Riad as a child, the adult overseer hovers in the background and is at times an obtrusive presence.
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For the child it is a world apprehended through sight, smell and sound, sensory impressions that may be vivid but not necessarily politically encoded: From the outset there are disjunctions. This disconcerting development sets in train a sequence of discrepancies, between his unshakeable political vision and the realities of daily life, that runs through the narrative. Indeed politics, or rather political and cultural figures, exert a subliminal influence over him. The first human face he draws as a toddler astonishes adult relatives because the drawing, which he then replicates, looks like Georges Pompidou.
Certainly he is careful not to portray the brief interludes in France as any kind of respite from life in the Middle East and the entire story is notably void of nostalgia and sentimentality. However, the similarities and differences between their lives in Libya and Syria are marked. The ubiquitous antisemitism and demonisation of Israel is more intense, the drab, lifeless, fetid physical environment of Ter Maaleh, the Syrian village and birthplace of his father, more oppressive. What Riad witnesses and hears may at times seem shocking to a Western reader — for example, the constant vilification of the Jews by small children — but given the context, of living under the dictatorships of Muammar Gaddafi and Hafez al-Assad, both of whom were committed to bringing about the extinction of Israel, not especially controversial.
Riad is fortified at important moments by the protection of his father, and he seems quite resilient. Indeed Sattouf subtly undermines the assumption that we as readers should empathise with the child, that we should read these two comics volumes as a chronicle of how growing up in Libya and Syria might have affected his emotional development.
The teasing of the dog swiftly escalates before a bigger boy arrives and the animal is impaled on a garden fork. Riad watches through the window as his mother remonstrates with the children. During their stay in Ter Maaleh the position of women in Syrian society comes strongly into focus. Women are also more fragile than men, therefore more likely to let Satan into their minds Ibid. One rainy evening the family is gathered in front of a television programme, in which a row of young women in military attire prepare to eat the writhing snakes coiled around their necks in front of an audience containing President Assad.
The television screen is shaded blood-red. In the middle of the same rainy night Riad is awoken by a knock on the door and later eavesdrops on the conversation between his parents that informs him of the death of his aunt Leila, a young widow suffocated by her father and brother on the news that she had become pregnant out of wedlock. The family agrees to denounce the killers who are imprisoned for their crime. However, at the end of the volume Riad and his parents encounter the old man walking down the road. The full-length panel that concludes this volume Fig.
Similarly, just as the comics artist develops his or own visual signature, so he or she also adopts a distinctive narrative voice, though here again Sattouf presents a conundrum. In interviews he throws out half-formed bits of information like bread to the pigeons but remains very guarded, leading some to speculate that his reticence, which translates in the comics script to a fascination with the rituals and trivia of the everyday, may be explained by a childhood spent mostly in the grip of totalitarian societies.
Nearly all cartoonists draw rapidly, showing few signs of the mental effort expended by figurative or conceptual artists, so by dint of its speed of execution alone the comics strip stands outside of the world of fine art.
However, the tragedy of January has put the political and ethical impacts of cartoons under the spotlight, thereby further accentuating the issues of text, image and reference. A middlebrow approach would normally be positioned at one or more steps removed from the glare of the caricatural figure that by necessity borders on the stereotype and yet would still seek to offer perspectives on such political realities.
In Joann Sfar inaugurated his series entitled Le Chat du rabbin , which addresses precisely issues of free speech, religious dogma, political power and aniconism, though from a greater historical and aesthetic distance. The eponymous couple - rabbi and pet cat - live together in s Algiers, in a broadly tolerant, pluralistic community. In the first volume, La Bar-mitzva , the cat, no longer able to tolerate the squawking of the parrot in the family home, devours it and thereby acquires the power of speech. From this moment on the reader is treated to a series of adventures involving the rabbi and his cat, in which the use and abuse of language and the power and dread of the image in the Abrahamic religions are dominant themes.
These are stories designed to prompt discussion.
Intriguingly, sundry artists and musicians have contributed brief prefaces to the volumes, welcoming on each occasion the return of the cat and his rabbi. The presence of these prefatory accolades indicates that Sfar may have succeeded in staging a conversation in which followers of his series are eager to participate.
In the best traditions of the Talmudic scholar, the talking cat is always open-minded and questioning, even when for long periods he imposes an appropriately bestial silence upon himself. In this, its metaphysical drive, in its constant revisiting of what it means to be human, albeit in light-touch, entertaining form, in the journey beyond the textual effects of word and image upon which its reader embarks, Le Chat du rabbin is fundamentally middlebrow and axiomatically a comic strip, in that here, gloriously, our guide to understanding humanity is a talking cat Fig.