It’s odd how Rossano Brazzi’s Psychout for Murder and Jesús Franco’s The Other Side of the Mirror, indirectly correspond each other. Adrienne Larussa (as Licia in Brazzi’s) and Emma Cohen (as Ana in Franco’s) are actually two astonishingly mysterious B-Movie queens struggling with the Electra Complex and their fathers in the psychedelic pop miasma. While Licia kills to find her way back to his industrialist father again, Ana is haunted by his father’s ghost who won’t leave her daughter alone; driving her to kill her lovers, so finally they can reunite at the border of life and death.
Two less-known examples of the carefree, untamable and heedless countercultural exploitation cinema, that prove how some films can affect and delight us by replacing lack of their coherent narrative and logic with upbeat, raw atmosphere and sensuality. Something that goes beyond massive electrifying techniques and structualizations. Rising right out of sincerity and restless rebellious spirit to wholeheartedly make films - not masterfully but maniacally.
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