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In this collection of three stories, an emotionally abused
wife finds comfort in the arms of her brother-in-law, a young
dancer undertakes an erotic and redemptive pilgrimage to Rome
involving live sex shows and nude photography, and a femme
fatale looks into a mirror as she recalls a sadomasochistic
love affair...
Try
imagining an erotic version of Alfred Hitchcock Presents,
and you'll have some idea of what this DVD series is like.
Only less well made. Producer Tinto Brass has little direct
involvement with these short films, apart from introducing
each one while puffing away characteristically on a cigar,
and making the occasional cameo appearance.
Though
the productions claim to have been directed in the "Tinto
Brass style", there is scant evidence of it here. Only in
A Magic Mirror is there any hint of Brass's eccentricity,
in the grotesque character of a brusque layabout husband (Ronaldo
Ravello), who spends much of his screen time lounging around
in a bath, like the captain of the B-Ark in The Hitchhiker's
Guide to the Galaxy. But, although this tale displays
the most humour in the entire collection, it also shows off
the least amount of bare flesh, which is surely another important
ingredient that the audience will be expecting.
Things
get sexier in Julia, the story from which this collection
takes its name, which includes some particularly explicit
and highly charged sex scenes. Unfortunately, the plot is
almost totally incomprehensible - something to do with a dancer
(Anna Biella) going to Rome, but wildly at odds with the description
on the back of the sleeve, which mentions a photographer's
three beautiful models. I counted two of them at the most.
This production is also blighted by amateurish editing, which
leaves several gaping holes in the soundtrack. Oh well, at
least this DVD is subtitled, which spares us from woeful English
dubbing of the type recently heard on Brass's Private.
The
final tale, I Am the Way You Want Me, is a very weird
and nasty little minx. In it, a naked woman (Fiorella Rubino)
sprawls around in her bathroom, mouthing various strange utterances
to camera, and doing erotic things to herself, such as shaving
with a fearsome-looking cutthroat razor (shudder). And that's
about it.
A
further disappointment is the lack of any extra features.
So, all in all, this DVD has left me feeling rather brassed
off!
Chris
Clarkson
Freeze 24 04 19 Barbie Rous Dreamcatcher Xxx 48 Better May 2026
Imagine a world where, on April 24th of an unspecified year, the global entertainment industry simply stopped. No new Marvel movies. No Spotify drops. No trending TikTok dances. No Netflix binge alerts. The servers hum, but the content pipeline is frozen solid. This thought experiment—let’s call it “Freeze 24.04”—is not a prediction of apocalypse, but a powerful diagnostic tool. By pressing pause on the relentless churn of popular media, we are forced to confront a strange, uncomfortable truth: in our current era, entertainment content is less about art and more about velocity, and the act of “freezing” reveals how deeply we have confused consumption with connection.
| Use Case | Description |
|----------|-------------|
| Academic research | Study media saturation, attention economics, or meme lifecycle |
| Content strategy | Identify what worked (and what died) in April 2024 |
| Creative inspiration | Generate “period-accurate” story settings or retro aesthetics |
| Legal/rights tracking | Document licensing availability at a specific time |
| Social critique | Compare diversity, labor conditions, or algorithmic bias | freeze 24 04 19 barbie rous dreamcatcher xxx 48 better
For the past decade, popular media has been governed by a single, silent commandment: Thou shalt not stop. Streaming services release entire seasons at once to fuel the “binge.” YouTube rewards daily uploads. Instagram Reels and TikTok have optimized the loop to the millisecond, ensuring that the moment one video ends, another—algorithmically tailored to your dopamine receptors—begins. Content is no longer something you watch; it is a current you float in. Imagine a world where, on April 24th of
Under “Freeze 24.04,” that current vanishes. The silence is deafening. What do we find in that silence? First, the sheer volume of what we’ve been consuming. In 2023 alone, over 500 original scripted TV series were released in the U.S. That’s more than one per day. Netflix’s content library exceeds 6,000 titles. On YouTube, 500 hours of video are uploaded every minute. A freeze doesn’t just stop the future; it exposes the past as a landfill of the half-watched, the skipped, and the “saved for later.” No trending TikTok dances
Create a temporal snapshot of entertainment and popular media as it existed on April 2024. This “freeze” captures trends, platforms, franchises, and audience behaviors for historical, analytical, or creative reuse. |
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£15.99
(Amazon.co.uk) |
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£15.49
(MVC.co.uk) |
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£15.49
(Streetsonline.co.uk) |
All prices correct at time of going to press.
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