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Sex, death & fishnets in the surreal film ‘Satan bouche un coin’ (NSFW)

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Paris 1968: While students riot on the streets and fight pitched battles with the police, journalist, filmmaker and writer Jean-Pierre Bouyxou was making an improvised short film—Satan bouche un coin—in collaboration with Raphael Marongiu and a group of their friends. It was a bit of fun—a surrealist home movie for their own entertainment, to be watched over a bottle of wine and a joint or two.

The pair had filmed in Bordeaux, Paris and Belgium and had even enlisted the involvement of the infamous fetishistic artist Pierre Molinier to perform in front of the camera.

The 68-year-old Molinier was a member of the surrealists, who had gained considered notoriety for his artworks and through the stories of his scandalous personal life—for example he once admitted to masturbating over the corpse of his sister. More recently, Molinier had started a highly personal and explicit photographic investigation into his auto-erotic transvestite and transsexual fantasies.
 
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Pierre Molinier.
 
In Satan bouche un coin Molinier appears as Androgyne. Bouyxou filmed one of Molinier’s auto-erotic performance pieces, which he used as the opening sequence to his film. Bouyxou’s intention was to put together a series of short unconnected sequences—or as he called them “stories”—editing them into a series of rhythmic patterns dictated by the music—Camille Saint-Saëns Danse macabre.
 
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While owing much to the work of Kenneth Anger, Bouyxou does invest Satan bouche un coin with some devilish charm and a little humor.

Bouyxou—who celebrates his 70th birthday this week—went on to become an actor and screenwriter, and making movies with such legendary filmmakers as Jean Rollin and Jesus Franco. 

Satan bouche un coin is a mesmerizing twelve minutes—one to watch before it’s pulled.
 

 
Previously on Dangerous Minds
The auto-erotic art of Pierre Molinier
 
Thanks to Brian Beadie!
 

Posted by Paul Gallagher
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01.12.2016
09:53 am
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Nude vampires ripped my flesh: The films of Jean Rollin (NSFW)
02.29.2012
01:59 am
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The films of Jean Rollin are a feast of perverse and exotic imagery shot in the soft-focus style of a David Hamilton photo essay and paced as languidly as a Terence Malick film…but with sudden eruptions of grand quignol gore worthy of Herschell Gordon Lewis and lots of beautiful and bloody nude bodies

Rollin’s fractured fairy-tales are inhabited by lustful vampires who often seem more alive than the aspic gelée flesh of the women they’re feeding upon. Using mostly amateur actors that float in and out of the frame like zombies pierced by tranquilizer darts, Rollin opts for something ghostly, chilly and ethereal, often with little regard for narrative tension. The heat comes in the splatter of blood and cum. It’s as though sex is the primary sign of life among Rollin’s cast of the living dead, the almost dead, and the barely living.

The Shiver of the Vampires, Requiem for a Vampire, The Demoniacs, Fascination, The Night of the Hunted, Lips of Blood, and The Living Dead Girl fetishize blood, sex, dungeons, coffins and diaphanous nightgowns with the obsessiveness of a blood sucker foraging through the dumpster behind a blood bank.

Here’s a fun documentary about the fabulous Mr. Rollin. Be warned: this is definitely NSFW, although it was made for British TV.
 

 

 

Posted by Marc Campbell
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02.29.2012
01:59 am
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Legendary Sexploitation Film Director Jean Rollin at Home
01.02.2011
08:52 pm
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French film director Jean Rollin died last month and this just released short clip of the Sexploitation legend catches him at home giving an improvised tour of his books and trophies. It was filmed by Merrill Aldighieri during the making of a documentary on Rollin.
 

 
Previously on DM

Jean Rollin: ‘Schoolgirl Hitchhikers’


 
With thanks to Tim Lucas
 

 

Posted by Paul Gallagher
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01.02.2011
08:52 pm
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In memory of Jean Rollin we present ‘The Grapes Of Death’ for your viewing pleasure
12.16.2010
01:37 am
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French film maker Jean Rollin has died (Dec. 15). He was known for his erotic, surreal, blood-splattered horror films. While I found some of Rollin’s movies an uneasy and often tedious mix of high and low art, there is no denying that Rollin had a poetic touch and transgressive sensibility that transformed even his lesser films into compelling experiences of varying degree.  Imagine a collaboration between Bergman, Radley Metzger and Herschell Gordon Lewis. There was always something memorably bizarre in all of Rollin’s work.

Film enthusiast and former member of legendary punk pioneers The Flesheaters, Chris D. posted this brief eulogy for Rollin on the New Texture blog:

Director Jean Rollin died today. He was responsible for many incredibly beautiful, poetic images in French films and was looked down on/ignored by the French film industry for decades as only a purveyor of trash. He didn’t direct any unqualified masterpieces, but he was a poet and a visionary and deserves to be remembered fondly for creating some of the most beautiful, simultaneously melancholic, creepy, haunting images of pure poetry in French cinema from the mid-1960s to the present.”

While Rollin’s best films, in my opinion, involved vampires, The Grapes Of Death (1978) is an unusual approach to the world of zombies. Unlike most zombie flicks, Rollin has crafted a film in which zombies are emotional creatures who actually feel remorse for their actions.

As is usually the case with any film directed by Jean Rollin, The Grapes Of Death has sumptuous cinematography and sexually charged imagery. Enjoy.
 

Posted by Marc Campbell
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12.16.2010
01:37 am
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Jean Rollin: ‘Schoolgirl Hitchhikers’

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During a screening of Jean Rollin’s first horror movie, La Viol du Vampire (aka Queen of the Vampires) in Paris 1968, police stormed the cinema and a riot erupted between the audience and the gendarmerie. The event made Rollin and his film famous, and started a career in fantasy, horror and sexploitation movie-making that has continued for over forty years.

Rollin began his career as an editor, and hung out with Nouvelle Vague film-makers such as Jean-Luc Goddard, François Truffaut, Claude Chabrol, Alain Resnais and Eric Rohmer.

I met most of them at Henri Langlois’ Cinemateque Francaise; we talked, and I saw their films. It was not exactly my cup of tea. It was a movement similar to German New Wave filmmaking, some sort of rebellion against the old directors—not only their approach and vision, but also their technical style. I was always most attracted to traditional, old French cinema, but there is no doubt that the Nouvelle Vague played an important economic role. They proved it was possible for young people without experience to make successful, acclaimed films on a small budget. They gave me and others the courage to attempt the same feat.

However, Rollin had his own vision of the cinema he wanted to make, and it wasn’t long until he tried his hand as a director. As a member of France’s Left, Rollin was asked to make a documentary in support of the Spanish resistance against the fascist leader, General Franco. The experience and the success of the film encouraged Rollin to make his first feature, the fantasy horror La Viol du Vampire.

In general, the fantastic cinema is always political, because it is always in the opposition. It is subversive and it is popular, which means it is dangerous. I made films with sex and violence at a time when censorship was very strong, so that was certainly a political statement as well, although again, not a conscious one. I just happen to have an imagination which doesn’t correspond with those of certain conservative people.

Over the next decade, Rollin made thirty-two films, mainly horror-fantasy, including Le Frisson des Vampires (aka The Shiver of the Vampires), Requiem for a Vampire, Les Démoniaques and Lévres de Sang (aka Lips of Blood). To help supplement the budgets for his own film projects, Rollin made a series of sexploitation films (usually under the name Michel Gentil), the first of which, Schoolgirl Hitch-hikers has just been digitally remastered and is about to be released for the first time on DVD, to coincide with Rollin’s birthday, by Nigel Wingrove’s Salvation Films

Now in his seventies, Rollin continues to work and his latest fantasy horror flick, The Mask of Medusa was released in France last month.
 

 

Posted by Paul Gallagher
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10.12.2010
08:36 am
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