Watch Movie The “Immoral Tales” This Weekend On Amazon Prime

Published on January 12th, 2019

An erotic collection of short stories, an anthology comprised of tantalizing tales about sexual desire and its diverse manifestations.

Four erotic tales from in various historical eras. The first, ‘The Tide’, is set in the present day, and concerns a student and his young female cousin stranded on the beach by the tide, secluded from prying eyes. ‘Therese Philosophe’ is set in the nineteenth century, and concerns a girl being locked in her bedroom, where she contemplates the erotic potential of the objects contained within it.

‘Erzsebet Bathory’ is a portrait of the sixteenth-century countess who allegedly bathed in the blood of virgins, while ‘Lucrezia Borgia’ concerns an incestuous fifteenth-century orgy involving Lucrezia, her brother, and her father the Pope.




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Movie Reviews: “Immoral Tales

Movie Review: Village Voice

“Thérèse Philosophe,” the sexiest and funniest of the four segments, unfortunately climaxes when Charlotte Alexandra’s title character is raped after she masturbates furiously with a cucumber while reading about the Stations of the Cross. But before he needlessly punishes Thérèse, Borowczyk presents Alexandra’s exposed body parts as if he were interrogating her breasts and hips and more through confrontational, unfocused extreme close-ups. Borowczyk always highlights some rousingly indecent gesture — sometimes it’s a telling quirk of the thigh, or a twitch of the wrist — though he doesn’t always seem to know where to find it. To that end, he searches.

Even the film’s sleepy introductory sketch, in which a teenage naif (Lise Danvers) is tricked into giving oral pleasure to her bloviating cousin (Fabrice Luchini), is significantly improved by a couple of leering close-ups of Danvers’s open mouth. Watching Luchini brush Danvers’s lips with his forefinger is exciting because it’s filmed like an aggressive, but spontaneous, expression of lust.

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Movie Review: Movie Nation

Immoral Tales

“I’ve been craving your mouth for SO long,” the gawky-young Andre barks at “gamine” Julie, sharing an intimate if not romantic moment on the rocky, chalky cliff beach in Normandy. He’s played by Fabrice Luchini, who enjoyed a long, leonine career in French films (“The Girl from Monaco,””Potiche” are two more recent credits of note). She is Lisa Danvers, who only made two films. Alas, France is as sexist about women’s screen careers as Hollywood.

Andre is commanding and demanding, and he over-explains what he’s going to do to her “untouched” lips, entreating her to fantasize over “What I will give you” (in French with English subtitles), urging her to become “a gourmand,” to think of the ebb and flow of “The Tide.” He’s loudly, poetically calling for oral satisfaction — a BJ on the Beach.

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Movie Review: CinePassion

Immoral Tales

La Rochefoucauld is evoked at the outset (love “pleases more by the manner in which it shows itself than by itself”), but Walerian Borowczyk’s tool in disarming prurient criticism is his sly humor, already evident in the title. Rohmer’s moral tales, Borowczyk’s immoral ones: Fabrice Luchini is plucked from Claire’s Knee for La Marée, the first short in the quartet, pumping air into his bicycle’s tire as his lissome young cousin (Lise Danvers) pops up with her bikini under a diaphanous white dress, ready for the beach.

The two are stranded on a rocky isle, he wants her to orally illustrate the “mechanism of the sea” so the blowjob montage is attuned to the cosmic rise of the tide; the girl’s pink mouth is at the center, going from blankly apprehensive to briefly blissful and back when pleasure of her own is denied.

Sexuality is blessed in Thérèse Philosophie — the fin-de-siècle, pubescent heroine (Charlotte Alexandra) hears the Holy Ghost while fondling the church organ’s pipes and, locked in a room, rummages through the bric-a-brac and finds volcanic ecstasy by blending the Gospel and De Sade. By the end, she’s a still-life of exhausted, aroused flesh, locked up yet freed carnally. Going back in time, Erzsébet Bathory contemplates Paloma Picasso as the Blood Countess, a saturnine vulturette on horseback; she rounds up medieval lasses for extended shower scenes in her castle, followed by sanguine frenzies.

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