If you are Italian you already know who Claudia Koll is, but if you don't you are in for a real treat. As Diane she fascinates in the way Louise Brooks fascinates... we admire her and want to know more about her. This is her first film and made her a star, however briefly, on the strength of qualifications in full evidence on this cover art.

Diane (Claudia Koll) is happily married to Paolo but due to her extrovert character she regularly winds up in short-lived adventures, which she doesn't keep hidden from Paolo. On the contrary: by telling him, their sexual relationship is fueled with fresh impulses. When Diana experiences a stormy affair with the poet Alphonse, who is obsessed with female bottoms, Paolo gets jealous after all. He rejects Diana, who responds by indulging in a series of sexual excesses with her sister and some friends. After a particularly rough house party, however, Diana returns to Paolo.

Salon Kitty and Pasolini's "Salò o le 120 giornate di Sodoma" both came out in 1975. The films are similar and centered around the same image: regimented rows of completely nude young healthy people at attention in a grand room. I do not know the specific production dates so I cannot say which influenced which or whether this is a case of cultural synchronicity. Speaking of grand rooms-much of Salon Kitty's unforgetable quality owes to James Bond production designer Ken Adam.

Brass' brand of sensuality is usually warm and loving so it's ironic that his two sickest movies (this and CALIGULA) are his two most lavish and best known films. It's a sick world.

"Berlin, 1939: At the dawn of World War II, power-mad SS Officer Wallenberg (Helmut Berger of THE DAMNED) is ordered to find and train Germany's most beautiful women to work in the opulent brothel of Madam Kitty (Ingrid Thulin of CRIES AND WHISPERS). Here these Nazi girls will submit to the bizarre passions and carnal degradations of the Reich's highest-ranking men and women while Wallenberg secretly records their acts for blackmail. But when an innocent young prostitute (Teresa Ann Savoy of CALIGULA) uncovers the conspiracy, her revenge will ignite a holocaust of pain, pleasure and shocking sexual perversion. John Steiner (MANNAJA), Tina Aumont (TORSO) and John Ireland (RED RIVER) co-star in this infamous epic co-written and directed by Tinto Brass and featuring exquisite production design by Oscar winner Ken Adam (BARRY LYNDON, GOLDFINGER). Released in America as the heavily censored MADAM KITTY, this controversial film has been fully restored from the director's own personal vault print and features extended scenes now presented for the first time ever in America."

Super stylish erotic drama. A disbarred Lawyer, recently released from prison and now involved with organized crime checks into the Snack Bar Budapest where he is instructed to make contact with the up-and-coming local kingpin, a 19-year-old punk-pimp-gangster named Molecola (Italian for "molecule"). Molecola is a Buffalo-trained politician trying to run out the mom-and-pop shops and turn the town into a giant casino-entertainment complex, with the Snack Bar as the centerpiece.

Serena Grandi shows up too as Lola's mother, housewife and model for her husband's obsessive photography and study of female bottoms. Excellent use of music. Lola even has her own theme song that, for good or ill, will stick in your head for days. Ammirati is eerily good as a frivolous girl on the verge of being a rural south Italian woman. She already has the sharp contemptuous vocal tone of a lifelong scold, and is barreling right into matrimony and family, not 5 years at a liberal arts college somewhere. Her sexual exploration is more about defining her place in nature than defining herself socially, and her eventual epiphany is expressed through a simple and profound union-with-nature metaphor.

I have annoyed Brass purists in the past by saying this is his most successful film. Many of his earlier works are more intellectually or artistically satisfying, but MONELLA is a perfect sexy entertainment and perfection in anything is so rare that I place perfect entertainment as a notch above flawed art.

Here, for the first time outside of Italy, and with Subtitles, is the uncut masterwork of erotica at its most humorous. Long renowned for his work in documentaries and the avant-garde, director Tinto Brass is now famous as the world's premier erotic filmmaker, turning out movies that have bridged the gender gap, earning at least as many ardent female admirers as male fans. Frivolous Lola is perhaps his most likeable film yet."

Italy - 1945. The war and fascism is coming to an end. Livia (Anna Galiena), the wife of a high-ranking ministry official is on her way to Venice in order to meet Helmut Schultz (Gabriel Garko), an SS Lieutenant with whom she is having an affair. During the trip she relives the high points of the torrid sexual abandonment that has shaped her destiny. Once in Venice she finds the city in chaos, but amongst the madness, a surprise awaits Livia... a surprise that sees her personal setbacks reflected in historic and political events. Erotic drama from Italian director Tinto Brass, with a score by Ennio Morricone.

Stars Anna Jimskaia, Max Parodi, Riccardo Marino and Nela Lucic.

Widescreen . Italian audio . English subtitles.