Betty blue movie sex scene

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Recommended by : NatashaS. Recommended by: WinterNow. This Italian film is acclaimed for its opulence, elegance, and attention to detail. Plenty of readers had something to say about this Marlon Brando film following the story of two lovers, an American hotelier, recently widowed, and a young Parisian woman, who begin an anonymous relationship that plays out discretely behind the walls of a small apartment. Recommended by: SomeRandomPerson.
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Le Matin aka Betty Blue Full HD Quality Movie Clip

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Betty Blue: The Director's Cut , directed by Jean-Jacques Beineix | Movie review

The plot: Zorg Anglade , a year-old failed writer, makes a living as a handyman for a vast community of beach houses. The much younger Betty Dalle , a volatile, impulsive young woman, becomes his lover and the two live in his shack on the beach. She decides he is a genius and will type the manuscript herself with two fingers. It slowly dawns on Zorg that Betty is more than volatile — she is mentally ill. A false-positive pregnancy sends Betty into a depression, then deeper into uncontrollable madness. Anglade perfectly limns Zorg as a good-natured slob, a nice guy who lacks the ambition to even promote his own excellent writing.
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Video Vault: Betty Blue

Drugs; shoplifting; slapping a traffic warden. The actress's claim to have eaten a corpse's ears is only the latest entry in her outlandish history. In one memorable scene she seduces a man who is in the process of burgling her house, a sexual encounter that culminates in her biting off his tongue. It seems that the film was a case of art imitating life. In a recent interview broadcast on French television, the French actress, most famous for her starring role in the film Betty Blue, claims to have eaten a man's ear while high on acid.
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Describing a tendency in French cinema that had begun in the early eighties and would continue into the nineties, Bassan identified commonalities in the work of Jean-Jacques Beineix, Leos Carax, and Luc Besson. These directors, who usually made films without strong ideological angles at least compared with French political cinemas of the sixties and seventies , drew more inspiration from advertising, fashion, and comic books than they did from the high cinematic arts. We made love every night. The forecast was for storms. When the film came out, Serge Toubiana wrote in Cahiers that it was nothing more than a series of fragmented, childish images, even if those images were pretty to look at.
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