Gestapo's Last Orgy

The same cycle, and the one with the most pretension attached.

Cesare Canevari shoots it with an art-film vocabulary: slow motion, a framing device set years after the war, a jazz score, and a structure built on a returning survivor. The claim, then and now, is that this makes it a serious film about complicity.

It does not. The framing is a wrapper and the content is the product, which is the same arrangement the roadshow operators of the 1940s used when they sold sex films as public health warnings.

Successfully prosecuted in Britain and banned in several other countries.

Here because the list is complete or it is worth nothing. It is not worth an evening.