Videos

I asked AI to clean up the scene and place it in natural light. This time, it failed miserably. It looks like a cartoon.

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Previous episodes of this series

Deep in the ice of the antarctic, a team of geologists uncover an old Nazi laboratory still intact where dark experiments had occurred. In order to conquer the world, the Nazis created modified sharks who were able to fly.

The blurb above doesn’t mention that the flying sharks were ridden by zombie Nazis. That gives the film nearly every grade-z movie theme rolled into one.

I started to write web pages full-time in 1997. The world has changed since then in dramatic ways, but one thing has remained constant. In 1997 Eva Habermann was getting naked in grade-Z projects, and a quarter of a century later, she is still at it.

The look of her grade-Z projects has improved, however, thanks to today’s computing power. The premise of this movie is as ridiculous as ever, as is the acting, which I would call third-rate to give it a several-rate upgrade, but those technical guys can work some wonders these days. Gone are the days of rubber monsters and cardboard sets. Both the 1940s scenes and the current shark battles look impressive in this film, and because the film was made in Germany, the Nazis look and sound like real Nazis. Of course the downside of that is that the supposed Americans also sound kinda like kinder, gentler, Nazis speaking English with German accents, but I’ll cut ’em a little slack.

There are also some nice comic touches. At one point in the 1940s, the high command is watching a “rah-rah, our sharks will rule the world” propaganda film that looks like this:

I don’t really agree with the 3.6 IMDb rating for this film. Sure, it’s just a dumb cartoon, but it’s a fun cartoon, and it’s supposed to be dumb.

And their techno nerds came through.

Am I embarrassed that I found many things in this cheesy film entertaining? You bet.

But that doesn’t change the fact that I did.

Celina Davis

Eva Habermann

Lucy Cat

Michaela Schafer

Videos

Polish drama. The title means “The Algorithm of Life.”

Jan Pyszalski is a young, ambitious novelist struggling with a lack of recognition in a world dominated by social media. In an age where vanity and easy money are acquired through social media, he feels alienated. His life changes dramatically when he suffers an accident and is presumed dead. Ironically, it is after his supposed death that his work begins to gain immense popularity.

Videos

According to the Polish Nudografia site, she is 21 and this is her nude debut.

Karima Haïm (her real name – some sources say Karin Haïm) appeared at the tail end of the golden age of French cinema, so she was in demand when some of the great Nouvelle Vague directors were still active. She appeared in the final film from Jacques Demy. She made two films with Claude Chabrol, the last when Chabrol was making his second-last film at 77.

Directors Michel Deville and Georges Lautner weren’t part of the New Wave, but they are from the same era. She did a film with Lautner when he was in his sixties, and one with Deville when he was in his seventies. She also had the privilege of working with some top names outside of France, including Tobe Hooper, Danny Huston, Bigas Luna and Werner Herzog, some of whom were not near death.

Fortunately for us, all but one of those directors got her naked. Claude Chabrol was the only one from that group who did not film her naked, and (coincidentally?) he was also the only one who got her a Cesar.

In the ten years from 1985 to 1994, she did more than one nude scene per year, but that was basically the end of it, although she was still in her twenties. She had a baby in 1994, and another in 1997. She was to do only one more nude scene after her children were born, a brief topless flash in a 2004 made-for-TV film, L’Homme Presse, when she was nearly 40. That was sort of a gimmicky remake of an Alain Delon film, where the role Delon had played was essayed by his own son, Anthony Delon.

Final total: 12 nude scenes, which would stand as substantial output for the actresses of most countries, but is a mediocre total by French standards. Actresses like Huppert, Beart, and Marceau double that!

Just for fun, I included Mathilda’s appearance on a TV show when she was 44, when she looked fantastic. That same year, she posed topless with nine other celebrities in support of breast cancer screening in the October issue of Marie Claire. She obviously still could have been playing romantic leads and nude scenes. She was one of those rare humans in their mid 40s who manage to look just as good as or better than they did at 20 – and she had looked pretty damned good at 20!

1985 – Lifeforce (dir. Tobe Hooper)

1985 – Lifeforce, behind the scenes

1986 – Letters to an Unknown Lover

1987 – The Debauched Life of Gerard Floque (dir. Georges Lautner)

1988 – La Passerelle

1988 – Three Seats for the 26th (dir. Jacques Demy)

1988 – Piazza Navona, s1e6

1990 – Advertisement for Lejaby lingerie.

1990 – Naked Tango

1991 – Becoming Colette (dir. Danny Huston)

1991 – Scream of Stone (dir. Werner Herzog)

1992 – Toutes Peines Confondues (dir. Michel Deville)

1994 – The Tit and the Moon (dir. Bigas Luna)

1996 – second pregnancy

First published: Paris Match no. 2485, 9 January 1997, in the Mathilda May feature “Enceinte et sexy / Jamais je n’ai été aussi fière de mon corps.”

2004 – L’Homme Presse

2009 – some French show.

2009 – October issue of Marie Claire

All the videos are here.

* I have true HD clips for Lifeforce, Floque, Three Tickets, Naked Tango, Toutes Peines Confondues, and The Tit and the Moon.

* I have a video for Piazza Navona that is Blu-Ray size, but obviously not HD. It was taken from an Italian TV broadcast.

* I was shocked to see that so many of these films are not available in HD. I have 1280×720 clips, therefore theoretically nearly HD, from L’Homme Presse and La Passarelle, but they are actually disappointing upscales. I have nothing approaching HD for Unknown Lover, Becoming Colette, and Scream of Stone. In the case of Scream of Stone, a mountaineering film with some spectacular cinematography, I couldn’t even find a good DVD, although it was directed by the estimable Werner Herzog, and is praised by those who have seen it (6.2 at IMDb, 63% Popcorn Meter).

If Brooks Nader is not the queen of see-thru tops, it must be a close contest between her output, and that of Charlotte Lawrence.

Mix of older material and some hot off the presses. Some is tame, some explicit.

Dystopian Spanish thriller about the end times.

A young couple flee with their 8-year-old daughter. They’re headed to a rural home they purchased before their world changed drastically. Their initial plan is to sell the home and move from their native Spain to France. When they arrive, things do not go as anticipated. The arrival of the mysterious Vera makes their trip to the new home far stranger than they imagined.

Video

An American production now showing at Cannes. I have only seen the trailer.

Desperate to become a father, a man spends a weekend falling for a woman who believes God has warned her never to have children.

Video (from the trailer)

Original source