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Tzh a Brazilian w Tzh isearchi Brazilian g Carlos The 50 Most Erotic Films of All Time, I asked everyone from my mom to my perviest friends, and the range of answers was an eye opener. One person's risque thrill is another's dirty disgrace, and erotic movies range from the frank to the slyly suggestive.

It's all a judgment call, and this section represents my judgment... trust me, I cast a wide net.

Reviews: Eros • Erotic Tales • Exterminating Angels • Secret Things •

Wide Sargasso Sea •

Features: Louise Brooks •

Eros

(2004)
Directed by: Wong Kar Wai (The Hand, Steven Soderbergh (Equilibrium) and Michelangelo Antonioni (The Dangerous Thread of Things.
Written by: Wong Kar Wai, Steven Soderbergh, and Tonino Guerra, based on Antonioni's short-story collection Quel Bowling sul Tevere).
With: Chang Chen and Gong Li (The Hand), Robert Downey Jr., Alan Arkin and Ele Keats (Equilibrium), Christopher Buchholz, Regina Nemni and Luisa Ranieri (The Dangerous Thread of Things).

Like most anthologies, this thematically linked trio of shorts is a mixed bag. Wong Kar Wai's The Hand, set in '60s Shanghai, is a small gem of sublimated lust; Michelangelo Antonioni's The Dangerous Thread of Things, which unfolds in present-day Tuscany, examines erotic ennui; and Steven Soderbergh's Equilibrium, set in 1955 New York, is a larky trifle about obsession.

In The Hand, inexperienced tailor's apprentice Zhang (Chang) falls under the spell of high-class prostitute Miss Hua (Gong), who assures the shy, virginal dressmaker that until he's become intimately familiar with a woman's touch, he'll never excel at making women's clothes. Wong and cinematographer Christopher Doyle evoke the intensity of their fragile, mutually dependent relationship, which endures even as his fortunes rise and hers fall, through Zhang's sensual, fetishistic pleasure in handling the silks, sequins and elaborate netting of Hua's exquisite gowns.

In "Equilibrium, high-strung adman Nick Penrose (Downey Jr.) pours out his anxieties to psychiatrist Dr. Pearl (Arkin), who's more interested in looking out the window with ever-more high-powered sets of binoculars than in listening to the details of Nick's dream tryst with a nameless beauty (Keats). The segment is shot almost entirely in black-and-white, punctuated by glimpses of Nick's cool blue dreamscape.

Finally, three of Antonioni's short stories are combined into a single, elliptical tale, The Dangerous Thread of Things, about an alienated rich couple (Nemni and Buchholz, the son of Magnificent Seven actor Horst,), a bold, voluptuous beauty (Ranieri) and an isolated stretch of immaculate beach. So stilted and affected that it feels like a pitch-perfect parody of Antonioni's trademark mannerisms. It ends with the women doing a nude dance on the beach followed by a cool, enigmatic stare-down as the waves lap gently at the sand. This tripartite curiosity was conceived by producer Stephane Tchal Gadjieff after he worked with Antonioni (who was partly paralyzed and left speechless by a stroke in 1985) on 1995's Beyond the Clouds. Dangerous Thread was shot in 2001; the other two were made almost two years later, when Soderbergh stepped in after Pedro Almodovar dropped out of the project. The segments are connected by dreamy, animated erotic drawings by Lorenzo Mattotti, accompanied by Brazilian singer-songwriter Caetano Veloso's dirgelike "Michelangelo Antonioni," and while none of the filmmakers offer strikingly new insights into the mysteries of love or sex, Wong's bittersweet segment is a subtle, haunting beauty.

Erotic Tales

(2000)
Directed by: Susan Seidelman (The Dutch Master), Amos Kollek (Angela), Jos Stelling (The Waiting Room).
Written by: Jonathan Brett and Susan Seidelman, Amos Kollek, Jos Stelling.
With: Mira Sorvino, Aida Turturro, Sharon Angela (The Dutch Master, Victor Argo, Valerie Geffner (Angela, Annet Malherbe, Gene Bervoets, Bianca Koedam (The Waiting Room).

An art-house variation on the Red Shoe Diaries, this three-film package is a best-of compliation of shorts made for a German television anthology that managed to be sex-themed without being especially sexy. The brainchild of producer Roberta Ziegler, the Erotic Tales series produced more than two dozen 30-minute films in four series between 1994 and 2002, most by well-known European and American filmmakers.

The first in this collection, Susan Seidelman's The Dutch Master (1994), was part of Series One and revolves around repressed, about-to-be married dental hygienist Teresa (Sorvino). Much to the surprise of her co-workers Kim (Turturro) and Dorothy (Angela), with whom she regularly eats lunch on the steps of the Metropolitan Museum of Art, Teresa one day ventures inside and becomes obsessed with Dutch painter Pieter De Hooch's "The Drinker." Day by day, Teresa becomes more deeply enthralled by the painting — particularly the 17th-century hunk observing the tipsy young woman for whom it's named — until it seems she finds the painting more real than her own life.

Amos Kollek's Angela (2000) debuted as part of the fourth series. A bored septuagenarian (Argo) gets a new lease on life after a phone call from a forward, sultry voiced young woman — the titular Angela (Valerie Geffner) — whose carnal high jinks he's been watching from his apartment window. But when they finally get together, he discovers there's more Angela than meets the eye. Kollek fans will recognize this tale, which he recycled with a few changes and the same cast, as a subplot in his 2001 feature Fast Food Fast Women; in both cases, Argo's low-key performance is the highlight.

The final film, Dutch director Jos Stelling's The Waiting Room (1995), was part of the second season and is told entirely without dialogue. A man with roving eyes (Bervoets) and his wife (Malherbe) are killing time at the train station before embarking on a trip. While she's off looking for coffee, he spots a brazen beauty (Koedam) who looks right back, then makes a surprising move. With its sly reversal of the balance of erotic power, The Waiting Room is easily the best of the batch, but it's still a trifle.

Exterminating Angels/Les Anges exterminateurs

(2006)
Written and Directed by: Jean-Claude Brisseau.
With: Frederic van den Driessche, Maroussia Dubreuil, Marie Allan, Lise Bellynck, Jeanne Cellard, Raphaele Godin and Margaret Zenou.

When French provocateuse Catherine Breillat began parsing the discomforts and absurdities of filming explicit erotic sequences for her astringently non-pornographic Fat Girl (2001), the result was Sex is Comedy (2002). Compatriot Jean-Claude Brisseau's fictionalized look at the making of his controversial Secret Things (2002), a brimstone-tinged fable about economics and eros, finds only tragedy.

Brisseau's fictional stand-in — successful, married filmmaker Francois (van den Driessche) — is in the middle of auditioning actresses for a frank erotic thriller; they must, among other things, demonstrate their "potential for exhibitionism" by masturbating on camera. A post-audition conversation with one young hopeful convinces him to devote his next film to simultaneously capturing the visual "grace of pleasure" and exploring the complicated emotions that underlie women's experience and expression of sexual desire.

Francois again conducts auditions that require young women to bare their bodies, but this time also asks that they expose their souls; their fantasies, experiences and feelings will form the basis of his script. He shuns professional porn actresses, whom he feels embody cliches shaped by men's voyeuristic desires; Francois wants to parse the hypocrisy surrounding cultural depictions of sex and the way those depictions color ordinary women's experience of their own pleasure. Three uninhibited lovelies — straightforward and forthright Julie (Bellynck); unstable Charlotte (Dubreuil), a survivor of sexual abuse and crazy parents; and fresh-faced Stephanie (Allan) — emerge from Francois' tryouts, but he cluelessly ignores the volatility of their chemistry until it blows up in his face.

Ooh la la — it's hard not to imagine that Francois is actually arty soft-core entrepreneur Zalman King with a French intellectual overlay. But if Exterminating Angels is Brisseau's exculpatory version of the sordid real-life events that stained his reputation within the French film community — he was convicted of harassing and defrauding actresses who auditioned for Secret Things — Francois is a slippery fellow on whom to hang a defense. Is the lesson that women are unfathomable bitches whose basic instincts are best kept under lock and key? Or is it that pompous auteurs who callously exploit vulnerable actresses and then abandon them to their demons get what they deserve? Hard to say, and that's a good thing. Does Brisseau mean us to take Charlotte's belief that she's possessed by the devil at face value? Perhaps: the titular "angels" (Godin, Zenou) — black-clad women who whisper questionable advice in the ears of Francois and his collaborators and then vanish — seem real, and Francois' dead grandma (Cellard) is lurking in the shadows, trying to advise and protect him. Like Secret Things, the film is ultimately infuriating, subtle, self-indulgent, astute and disingenuous, which makes for great, if divisive, conversation. (In French, with subtitles)

Secret Things/Choses Secretes

(2002)
Written and Directed by: Jean-Claude Brisseau.
With: Coralie Revel, Sabrina Seyvecou, Roger Mirmont, Fabrice Deville, Blandine Bury, Olivier Soler, Viviane Theophildes, Dorothee Picard, Pierre Gabaston and Lisa Heredia.

The best Zalman King film ever made by a French intellectual, Jean-Claude Briusseau's sexually charged fable chronicles a modern-day courtesan's sentimental education.

Naive, sexually inexperienced and unfulfilled, Sandrine (Seyvecou) tends bar at a strip club and secretly admires the bold sensuality star attraction Nathalie (Revel). When the club's sleazy owner tries to bully Sandrine into having sex with a customer, Nathalie intervenes and both are unceremoniously fired — literally thrown out on their asses. Sandrine is in a panic: She's penniless, without prospects and can't ask her parents for help — they're barely getting by themselves. But Nathalie — a frosty philosopher of the bedroom who preaches that once a woman frees her libido from the slavery of love, nothing can stand in her way — has been making plans. All she needed was a partner, and now that she has Sandrine, whom she's been schooling in the ways of the flesh, it's time to get started. All they have to do is secure office jobs and then use their strategically deployed wiles to permanently escape second-class citizenship and economic servitude. Simple but time honored: It worked for pragmatic Lily Powers (Barbara Stanwyck)in Baby Face, and men haven't changed much since 1933.

Both are hired by a Champs-Elysees financial firm, Sandrine in statistics and manipulative Nathalie in personnel; together they plot Sandrine's ascent from office manager Cadene (Soler) to happily married CEO Delacroix (Mirmont), right-hand man to the firm's dying founder, Monsieur Barnay. The only prize greater than Delacroix is General Director Christophe Barnay (FDeville), who will inherit the company when his father dies. But the handsome Christophe is dangerous game, a Nietzchean hedonist who's driven more than one ex-girlfriend to self-immolation; Nathalie advises that Sandrine stick with the easily manipulated Delacroix, but the wheels of disaster begin turning when she deviates from her own steely principles. pCarlos Sensualchicksonline Tzh Usercontent 2008 11 Bella Club Brazilian Model Monique Luchuese 606724 Sensual Chicks Online Erotic Filmh u r Sex Chicks White Chicks wCarlos Sensualchicksonline Tzh Usercontent 2008 11 Bella Club Brazilian Model Monique Luchuese 606724 Sensual Chicks Online Erotic Filmj Sensual Chicks Online Hardcore Dating Sensual Chicks Online