Satirical film in four episodes about family and marriage.

An episodic film based on letters to agony columns, showing the effect of sex on the lives of women.

The film celebrates the 100th anniversary of the birth of cinema. It presents the technical and artistic evolution of the motion pictures. We move from mute to sound, from black-and-white to color, through various genres and styles. All the aspects are taken into consideration: the historical context, the fashion, the star system and the unhappy ending to watching films in movie theaters.

The film celebrates the 100th anniversary of the birth of cinema. It presents the technical and artistic evolution of the motion pictures. We move from mute to sound, from black-and-white to color, through various genres and styles. All the aspects are taken into consideration: the historical context, the fashion, the star system and the unhappy ending to watching films in movie theaters.

Reviewed By: David Stanners
Margherita is an Italian diva caught in a ménage a trios plus one. That'll be a ménage a quatre then? Something like that.
It sounds so promising, but Ferreri's little Italian romp is neither funny nor meaningful. As one may expect, though, being Italian it does manage to knock out a fair bit of style, with a rather sultry, suave female lead (Caroll Baker) playing devious seductress, Margherita. Spoilt for choice, she is unable to decide on which of her three lovers she really wants. On a whim she takes off to visit her friend Mario (William Berger) in Croatia, who persuades her to invite all three over together so she can pick her favourite.
First up there's Gianni (Gastone Moschin), a sugar daddy with deep pockets and good connections. Recently dumped when he tries to tie the knot with Margherita, he is in direct competition with Mike (Michel Le Royer), a somewhat younger, ruggedly handsome, blonde-bearded wild card of a man with an eye patch and a leopard for a pet. Last and probably least is lover No.3, Gaetano (Renato Salvatori), bespectacled and squarest of all but best dressed, suited and booted in Italy's finest.
Slowly Margherita plays one off against the other with some tried and tested female mind games, causing below the belt punches and high elbows in the boys camp. First turning on Mario for colluding with her in setting them up, as each believed they had been invited alone. As the testosterone drives the fight, they turn on each other, competing hammer and tongs for her warped affection. But poco a poco, having being pushed beyond their limits, she tires them out. Scratching their heads at their naive stupidity, they make a U-turn and devise a cunning plan of retribution for the queen of cock tease.
Shot in 1967, around the time the French had made the ménage a trois theme as common as breakfast the morning after, Marco Ferreri makes light of the business of female sexual promiscuity. Bordering on the farcical, The Harem doesn't have enough to sustain it as a decent sexual romp. With next to no plot, it's up to the characters to lead from the front, and although Caroll Baker is perfectly cast, since Ferreri has gone for romp instead of the heavy set script of say Jules et Jim -to make a distant analogy - his characters resemble cartoon strips without the hilarity. Imagine the Carry On films without the smutty humour. Eh, I don't think so.
Style is nothing without substance, and The Harem is just that. While the ending is just and fair, the transporting vehicle is a Ferrari with a Fiat engine.

The story about a couple who do not want to have children of their own, and a pregnant, single woman who needs a home for a while, the relationship between the three protagonists is strange, at the very least.

Poet/lecturer Charles Serking awakens from his alcoholic haze long enough to take a bus back to L.A. and plunge into an orgy of drink and sexual depravity.

A beautiful film which is basically about a man, a piano player, who meets and falls in love with a beautiful and voluptuous woman, who, by some strange procedure, leaves the man unable to move but with a permanent priapism! After some time he becomes sick of it and she relieves his paralysis. Eventually she gets bored and decides to leave, but he can't take it because he loves her…

During a Post-Apocalyptic period in the near future the majority of the European population has been wiped out by some sort of undefined plague. Cino and Dora, a young couple, are rounded up by what constitutes the authorities on an isolated temporary base. They are examined and given antibiotics which will protect them for six months, told to pick out a deserted house to live in the area, and use that time to conceive a child.

Michel is a bored lonely cheap-thrills-seeker. Everything changes when he finds an unusual bobble head doll in the shape of a pretty woman that can say "I love you" and falls in love with it to the point of obsession.

El Pisito is a 1959 Spanish comedy film directed by Marco Ferreri. The Spanish Ministry of Culture forced the producers to sign the film as co-directed by Spaniard Isidoro M. Ferry. It was co-written by famous Spanish screenwriter Rafael Azcona, who collaborated with Ferreri throughout his career.
The film was a huge flop when it was released in Spain, but nowadays is a cult classic. The film had troubles with Spanish censorship.
In the film, Marco Ferreri and Carlos Saura appear in cameos. (wikipedia)

在影片《母狗》中费雷里描绘了一个女人如何接近一位连环画画家。画家生活在一个孤岛上，正在画无产阶级的第一个英雄斯巴达克思的连环画。这个女人由于能在这个男人面前扮演一个俯首贴耳的角色而得到满足。她给自己套上了一个狗项圈，跪在他面前，舔他的手。费雷里不是以此来美化大男子主义，而更多的是为了谴责资本主义社会男女之间的病态关系；但这里也应责备费雷里的两重性、他的玩世不恭和过多的滑稽效果。也许那个生活在孤岛上无所作为的画家正是费雷里自己的写照，因为费雷里不满他的生活和工作：“我试图在这个制度里拍摄影片，而且是拍摄我想拍的影片。我本应该是幸福的；但我并不幸福，因为我相信我的影片是没有用的。我从来不抱幻想，我知道只有少数人看我的影片，而且即使看了，又会起什么作用？这些影片只会使人不安。但这是不够的，而且也没有什么意思。"

本片是费拉里对现代社会文明和小家庭中男子的作用的最新探讨的成果。工程师热拉尔德被妻子抛弃了，并把小儿子皮耶罗特留给了他。当工厂宣布休假时，他把保姆当作情人；在短短的时间内，他重新经受了令人伤脑筋的以两性斗争为特点的两人关系发展的全过程。热拉尔德完全被以性交为表现的男性意识所支配。当他同情人的关系发生危机时，他的情人却和他的前妻成了好朋友。他出于抗议和绝望用一把厨房用的电锯把自己的生殖器割掉了。这个可以作为模式的事件的大部分 (就象在戏剧舞台上一样)发生在一套高层小公寓里。费拉里批判了他的主人公的大男子主义，同时也表现了由于生活(工作，住宅，千篇一律的生活秩序，孤独寂寞)造成的绝望和灰心丧气。如果说影片留下了一种相互矛盾的印象，那是由于影片以独特的方式提出了问题：这个男人是他的行为的牺牲品，也是妇女全面反抗的牺牲品；费拉里在这部影片中同样使用了多种手法，而且通过一些“煽动性"的细节和效果来吸引更多的观众。

罗伯特的新工作是一家幼儿园的老师。他的教课总是别出心裁，他将一-台电视机搬进了教室，还将一头驴子带进了教室。他的讲课对孩子们来说，充满了极强的诱惑力。他与一个小朋友的母亲伊莎贝拉约会。不久，伊莎贝拉怀孕了，这使他感到很为难。伊莎贝拉去了撒丁岛，那里，有她家一个废弃的老电影院。罗伯特被带进警察局讯问有关他过去的激进行为。而罗伯特却带着10个孩子去撒丁岛等待孩子的诞生。那里，四周都是大海，那里才是罗伯特、伊莎贝拉和孩子们的自由之地。

A highly stylized surreal farce about the events leading up to Custer's Last Stand anachronistically reenacted in an urban renewal area in modern Paris.

A modest Neapolitan man meets a young woman with excessive hairiness. He exhibits her at fairs and marries her. It is after marriage that he receives a tempting offer from a French manager.

A septuagenarian couple are attracted to each other in a retirement home but find the institution and their fellow patients frown on their relationship.

1962 film by Alberto Lattuada