made with

sorry for the mistakes!


Emanuelle e Françoise (Le due sorelline)
What will ever tell a film entitled "Emanuelle and Françoise (Le due sorelline)?" With a reference to Emmanuelle and the series with a one "m" and with the funny-boy Joe D'Amato as director? It is therefore reasonable to expect the two little sisters to do something erotic in some Asian location, ending up in a mess of drugs, sex and trafficking. Instead, the title is the worst thing of a surprising and ruthless film that deserves to be mentioned among the best films of our beloved Aristide Massaccesi. Ah, Bruno Mattei said that he also was behind the camera, not accredited.
Joe D'Amato who also deals with cinematography realizes a work that as always is a mixture of genres ranging from the erotic, to the revenge movie, with extreme weird point, displacing the viewer with a double final shot.
A very careful direction, like cinematography, makes us forget that we are in a film with obvious budget limits, which starts slowly, perhaps too much, and then explodes in a second part simply exciting.
A monumental George Eastman, without a beard for the occasion, creates a character that stands alone throughout the film and that in partly remembers, in a final scene, the well-known monster of "Antropophagus". At his side Patrizia Gori in the part of the submissive Françoise and Rosemarie Lindt, actress of genre films and German dancer who now runs a dance school in New York, in the part of Emanuelle.
Carlo (George Eastman) is an unscrupulous gambler and playboy, who force his girlfriend Françoise (Patrizia Gori) to prostitute to repay his debts. The girl although submissive is in love, but one day discovering another betrayal she kills herself under a train. Emanuelle (Rosemarie Lindt) Françoise's sister plans a tremendous revenge: she seduces Carlo and chains him in a secret room of her house. Thanks to a mirror, the man can see everything that happens watching erotic scenes and even a "tasty" cannibal dinner, the highest moment of the whole movie. But not only because the drugs he is forced to take, make him live nightmares.
A story, which as mentioned, gives us a double final shot of the scene that seals one of the best moments of cinema of our immense Joe D'Amato.