BA_Harrison Pushed to the limits by her abusive boyfriend Carlo (George Eastman), distraught photographic model Françoise (Patrizia Gori) throws herself under a train. On learning of her sister's untimely death, sexy reporter Emanuelle (Rosemarie Lindt) sets out to make Carlo pay for his wicked ways, drugging him, chaining him up in her apartment's handy, secret, soundproofed room (complete with two-way mirror), and performing sexual acts in front of the helpless guy, occasionally enhancing his experience with hallucinogenic drugs.Written by Bruno Mattei and directed by Joe D'amato, two of Italian exploitation cinema's most infamous sleaze-merchants, 'Emanuelle e Françoise le sorelline' sounds like solid gold for those who enjoy their Euro-trash on the stronger side, but it should be noted that this is a relatively early effort from both film-makers, and despite a steady stream of sex and a touch of violence—a three-way lesbian tryst, genital fondling, oral sex, inappropriate use of a wine bottle, and meat cleaver mutilation—the naughtiness is not all that explicit (by D'amato's standards, at least) and the carnage (achieved with the use of a couple of bottles of ketchup and a few spare mannequin parts) is too fake to be truly disturbing. A rather slow pace adds to the tedium, making this a less than essential film for fans of either Mattei or D'amato.5.5 out of 10, generously rounded up to 6 for the hilarious blonde chick in the nightclub who takes her top off and jiggles her tits whenever the music gets faster.

HumanoidOfFlesh Hardcore alpha male and playboy Carlo(George Eastman)rejects cruelly his girlfriend Francoise(Patrizia Gori)after years of abusing her innocence and prostituting her.Distressed girl commits suicide by jumping onto moving train.Francoise's sister Emanuelle(Rosemarie Lindt)sets out to seduce Carlo and perform bloody revenge on him.Carlo is chained in her house,drugged and sexually tortured.The climax is hysterically bloody and exploitative.I must say that I enjoyed this piece of filth from legendary Joe D'Amato.There is lesbian scene,rape,two insanely bloody meat-cleaver attacks plus totally twisted dinner party orgy which involves cannibalism and sexual violence.If you like trashy and exploitative cinema with no redeeming values give this ultra-sleaze a chance.8 meat-cleavers out of 10.

jaibo Made before director D'Amato got together with Laura Gemser, and not really an Emanuelle film, this strange erotic revenge thriller is one of D'Amato's most coherent and visionary statements. The story is simple – young model Francoise is abused and betrayed by her cad of a lover Carlos, finally throwing herself under a train when the pain gets too much. Francoise' older sister Emanuelle finds out the whole sorry story through some letters left by her sister, and goes about getting even with the bounder. She seduces him, drugs him and keeps him chained and imprisoned behind a two way mirror positioned in her living room, through which he sees her putting on an erotic solo show, making lesbian love, indulging in orgies and, with the help of some hallucinogens, partaking with revellers in an imagined cannibal feast.The two way mirror is an extraordinary image, and is central to the meaning of the film. Carlos' treatment of Francoise is unthinking patriarchal abuse; Emanuelle – a feminist journalist – has previously called for a women's movement in which "women mustn't lose their womanhood" – uses all of the feminine tools at her disposal to get one over on him. There's something about Carlos' isolated immolation behind the mirrored screen which suggests the position of a lonely, frustrated man trapped in a world where he can watch women get up to all sorts of stuff, as in pornography, but he cannot get to join in and, what's more, he holds up his escape attempts by his compulsion to look. The terrible vision of the cannibal feast – an image which is central to D'Amato's work – shows us a world in which people eat flesh and blood to survive, the dog eat dog world of contemporary society. In his dark prison, disempowered Carlos dreams of murdering a naked Emanuelle with a cleaver, and when he does get free (narrowly missing the emasculation which many powerless men imagine the women's movement will bring them), he causes her death in reality. But hiding from the police back behind the mirror, Carlos finds himself fatally trapped – his planned escape through violence has been a road back to imprisonment, and he will starve and thirst to death in an ending straight out of Edgar Allen Poe.The story is reminiscent of one of Poe's horror tales crossed with a dollop of De Sade (Francoise and Emanuelle suggest Justine and Juliette); the tale conjures forth a horrific, relentless universe in which cycles of violence turn round forever, men on top and abusing women one minute, women on top and torturing men the next – yet no one ever gets free from the hate and anger which traps them. D'Amato is a consummate poet of the cinema, and he goes out of our way to show that his two way mirror stands for the cinema screen: people appear on its surface, it shows lurid and violent images of desire and death, at one point a police cameraman working in the room with it asks for time for "a few more shots." D'Amato does all he can to mirror Emanuelle's antics on her "screen" with Carlos' antics abusing Francoise off it – he forces her to have brutal sex whilst sleazy men watch, he gives her to a nasty old satyr of a producer, he emotionally blackmails her into starring in pornographic films. At times the relationship between Carlos and Francoise reminds one of the story of Linda Lovelace and her husband/manager Chuck Traynor as told in Linda's autobiography Ordeal; perhaps Emanuelle is reminiscent of one of the women who played the game for themselves and made successful careers for themselves as powerful players in the porn industry. By some alchemical magic, D'Amato has captured the spirit of the newly libidinous, permissive world and shown us the choices open to women in it. He doesn't, as a maker of sleazy product himself, remain free from contamination, but purity isn't the game for artists of his kind: they are immersed in a world from which they bring back reports of the truth, and show us their findings without editorializing, with the inscrutable look of sphinx on their face.

EVOL666 I was both disappointed and impressed with BLOOD VENGEANCE (aka EMANUELLE'S REVENGE). On one hand, I was hoping for some of the hard-core sex and perversion that punctuates many a D'Amato production. ON the other hand, the story-line in this one is pretty strong, and although the acting isn't the best (as is usually the case with these sleazy low-budget Italian films) the plot and how it plays out carries the film rather well...Francoise is a sweet young girl with a scumbag boyfriend named . He treats her like garbage and uses her as his scapegoat when he gets into gambling or other problems. After she catches Carlos cheating on her and Carlos kicks her to the curb, Francoise commits suicide. Enter Emanuelle (played by Rosemarie Lindt in this installment), Francoise's big sister who learns all about Carlos and what a douche he is. Emanuelle plots a twisted revenge for Carlos which doesn't work out quite as planned...BLOOD VENGEANCE doesn't feel like an Emanuelle film - it's more just a semi-erotic revenge thriller. The sex is mainly dull and un-explicit, yet there's still a few good, sleazy moments - including a deliriously hallucinatory dinner scene which is one of the highlights of the film. I also enjoyed the somewhat unexpected ending - I was caught off-guard as to how everything eventually played-out and liked the "dark" resolution. Not a great film and not one of my D'Amato favorites - but definitely worth checking out for 70s exploit fans...7.5/10