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  • 阿兹拉是一名年轻女同性恋,生活在多伦多,尽情享受着自己的生活。母亲并不赞同阿兹拉所谓的生活方式,她们很少往来。父亲去世后,她开始重新审视自己的家族历史,发现保守的母亲也有一些自由的过去。
  •   Long out of circulation, Deep Throat Part II was conceived as a soft-core sequel to the highly successful Deep Throat. The film was written and directed by sexploitation virtuoso Joe Sarno and shot on 35mm in the New York City area in early 1973. It was released in the U. S. in early 1974 with an MPAA "R" rating and quickly disappeared; porn journalist Al Goldstien, writing in Screw, called it "the worst film I have ever seen." The existing U. S. version of the film now on DVD is bowdlerized; the Italian DVD release version contains the film's original soft-core sex scenes. There has long been an urban legend that the film was shot hardcore and that the hardcore sex scenes were "stolen" while the film was in post-production; this claim seems extremely dubious and director Joe Sarno himself has insisted in interview that only soft-core sex scenes were shot for the film. Deep Throat Part II is Linda Lovelace's second feature film (she only officially starred in three). A young Judy Tenuta (comedienne) has a walk-on cameo. The film is one of Sarno's rare comic efforts and contains an unusually polished soundtrack featuring tunes written by, among others, former members of Jay and the Americans.
  •   When Max Causey was six, he accidentally killed Santa. 12 years later, Max rectifies his mistake by resurrecting him, but soon realizes the creature he created is a bloodthirsty killer and it's headed right to his friend's Christmas party.
  •   Attending college at her mother's alma mater, Jennie joins an exclusive women's group. But the price of admission may have lethal consequences.
  •   20-something Aden has no other ambition in life than to become an actor. Most of his time is spent making videos as he applies for roles he’ll never get. After a string of dreadful auditions, where bizarre and humiliating requests are made of him, he comes up with a radical move: he will take full responsibility for finding a role that primarily he, himself, wants to play. This self-assured debut, playful in form and narrative with a fairy-tale edge to it, examines both the commercial work ethic and the concept of identity, which it presents as multilayered and also questionable. At the same time, in its exploration of the given themes, the film doesn’t deny itself a socio-critical tone, nor does it resist the temptation to tease the viewer a little.