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Maladolescenza ( German : Spielen wir Liebe ) is a 1977 film directed by Pier Giuseppe Murgia.
The film caused significant controversy because of its simulated sex scenes involving underage actresses. Because of these scenes, it was banned in several countries, being labeled as child pornography .
Laura (Lara Wendel, age 12) and Fabrizio (Martin Loeb, age 18) have been meeting every summer in the forest by her parents' summer home. Fabrizio is a solitary boy with only his dog for company; Laura is a sweet girl, but she lacks confidence. This summer new aspects enter into their story as both are growing up. The film represents them as part child, part adult. Part naive, part knowing. Laura is falling in love with Fabrizio, while he displays a new sexual awareness of her masked by his malice.
Fabrizio becomes inexplicably cruel. He accelerates his unwarranted torment of Laura in many ways, including tying her up and putting a snake near her and killing a pet bird she is fond of. Fabrizio prides himself on being 'king of the forest' and rubbishes Laura's tender attempts to be his queen. One day they climb the "Blue Mountain", a mysterious tall mountain at the forest's edge and discover ancient building ruins. Exploring these they find a cave. Inside, Fabrizio seduces Laura.
Fabrizio's cruel streak is boosted by his new sexual confidence. At one point he virtually forces himself on Laura, much to her upset. He does relent when she makes it clear she wants Fabrizio to be gentle with her, which he ridicules.
Things develop further when they meet Sylvia (Eva Ionesco, age 12). Unlike the previously virginal Laura, Sylvia is confident and assertive. Fabrizio develops a fascination with her, eventually bribing Laura to fetch her to the forest to join them in play. Sylvia, aware of Fabrizio's interest in her, asserts herself in his affections, quickly replacing Laura and demoting her to servant and victim, which Fabrizio takes delight in. Laura, reluctant to leave her old friend and new lover, stays and becomes the target of the duo's ever progressing cruelty. At one point, they both 'hunt' Laura with bows and arrows and at another, pretend to throw her off a high ledge. They make love in front of her, insisting her punishment is that she must watch, leaving Laura confused and heartbroken.
At the end of summer, with the girls talking about returning to school, Fabrizio becomes pensive and agitated. He insists on taking Sylvia to the ruins for the first time. All three of them go into the cave to escape a thunderstorm and Fabrizio again pretends they are lost as he did with Laura. Sylvia breaks down sobbing for her mother, all traces of her confidence and maturity lost in the fear of being in the cave. Fabrizio repeatedly begs Sylvia to stay with him forever. In the morning, Sylvia is still lost in the cave and further rejects the desperate Fabrizio and his pleas to stay with him. She becomes hysterical and he kills her with a knife, feeling it is the only way he won't lose her. He stays with the dead body and gives Laura the flashlight telling her she knows the way home and Laura reluctantly leaves. The film ends with a translation of the poem "Akarsz-e játszani" ("Would You Like to Play?") by Hungarian writer Dezső Kosztolányi .
The film was co-produced by two Munich companies as well as an Italian enterprise, filmed from 17 August to 16 September 1976, in upper Austria and Kärnten. Chosen to play Sylvia was young Eva Ionesco, herself no stranger to controversy, as her mother was infamous in their native France for her photos featuring a then five-year-old Ionesco in semi-sexual artistic photography.
In May 1977, at the press conference for the presentation of the film, Eva Ionesco said it was "vulgar, shocking and useless". [1]
Maladolescenza is known primarily for its use of a young actor and two 11-year-old pubescent actresses in scenes involving both nudity and simulated sex. It's largely unseen in all but a few countries primarily for this reason.
In Germany, although released uncut in cinemas at 91 minutes in 1977, public outcry caused for several scenes to be removed on its home video releases, namely all instances of nudity, sexuality and death involving children, bringing the running time down to 77 minutes.
In 2004, a German cult DVD distributor restored these cuts in a re-mastered version running at 91 minutes. This version was later banned in a German court on 28 July 2006, condemning the material as child pornography , successfully withdrawing all copies from distribution.
In 2010, a Dutch court ruled that the movie qualifies as child pornography because it depicts the sexual exploitation of children. [2]
Its worldwide circulation is largely unknown to this day, including in Italy and France where seemingly no DVD or home video releases have ever been made available.
The music was recorded in stereo at Dirmaphon Studios , Rome , Italy . The original release contained the first 18 tracks.
Author & Photographer:
Liza Van der Stock ,
The house where Maurice, Laura and Eva live. They live upstairs and downstairs porn movies are shot and erotic parties take place.
Maurice, Laura and Eva in the morning getting ready for school and work.
Laura and Eva going to the supermarket.
Eva and her friend Roosje at the riding school.
2018 Primetime Emmy
& James Beard Award Winner
Photographer Liza Van Der Stock’s intimate project about a porn-producing family in Flanders was shortlisted for the 2015 Sony World Photography Awards.
In a Flemish village outside of Turnhout, Belgium, Laura and Maurice live together with their daughter Eva. They have all the trappings of a normal family, but when 9-year-old Eva is at school, Maurice and Laura start their day jobs as porn producers.
I photographed the family for two years for my project called Paradi$e Lu$t. They’ve given me unfettered access to both their personal and professional lives. The duo, more than anything, are small business owners: together they started a production company called “Stout!” around a decade ago. It’s still a modest operation: they produce the movies and both work the camera. And, from time to time, they are the porn stars as well.
Like Maurice and Laura, their other actors are ordinary people. They’re fathers and neighbors. Salesmen and postmen. The sex and the bodies are very real, not fake, not glamorous.
Maurice and Laura used to live above an erotic club they owned and filmed in, but they moved out to the quieter village once Eva got a little older. The most interesting thing about the village life was the process of gaining their new community’s acceptance. When Eva was new in her school there were some children who couldn’t play with her because their parents didn’t allow it. Laura really wanted everybody to accept them, so she threw a very big party for Eva’s birthday. She cleaned the house for two days and made it totally sex-free. She invited everybody from the school, also the parents. People came to realize that they are just normal people and since then she organizes the party each year.
Maurice and Laura are always very honest with Eva. They don’t want to lie to her. But of course they informed her about their job in words she can understand. She knows that they had a bar where naked people came to have a drink and to dance. Eva has a really good relationship with her parents and their job has never been an obstacle. And in my time with them, I saw a warm family with a very normal life that really separated their work life from their personal life. A moment I remember very well was when Eva received her first communion in church. Laura was very involved in the ceremony and afterwards there was a party in their new café. Friends and family came along and it was a very good day. In the porn Laura and Maurice make, actors are captured on tape as they are. My project aims to portray the family with that same humanity.
See more of Van der Stock’s work at www.lizavanderstock.com .
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The term ‘Lolita’ refers to an under aged, seductive girl, who often becomes the sexual obsession of a much older man. Originating from the character in the popular Vladimir Nabokov novel of the same name, multiple films have taken on some kind of variation of her and Humbert Humbert’s relationship.
With the upcoming film “Diary of a Teenage Girl” having a similar theme, here are 15 other films that explore this complex from different angles.
Katie Kampenfelt (Britt Robertson) is an archetypal version of a Lolita – a seductive, attractive, dishonest, underage girl who desires nothing more than feeling wanted and loved. She takes gap-year before beginning college and with the advice from a concerned teacher, starts an anonymous blog that chronicles her thoughts, affairs and adventures.
She cheats on her high school boyfriend (Max Carver) with a 32-year-old college film teacher (Justin Long) who is in turn cheating on his girlfriend. After he moves away, Katie is left stranded, ignored, and car-less, unable to contact him of her own accord.
Despite breaking up, he still occasionally contacts her whenever he feels lonely, and after having sex, says that he regrets it. He uses his adult status as a defense for ending the relationship, saying that she is immature and he has to be the grown up in this situation. That is, until the next time he wants to use her.
After quitting her job at the bookstore since her boss was a convicted sex offender (Martin Sheen), she gets a call from Paul (Christian Slater) who interviewed her for college and knew that since she deferred a year, she could maybe work for his family as their babysitter. Although somewhat shallow and sulky, Katie is not just the girl everyone wants, but the one who loses her innocence, the people closest to her and everything else.
Rob Marshall’s film chronicles the poor little Chiyo Sakamoto’s adventure to becoming the most desired geisha in Japan. After being sold by her family to an okiya (geisha house), she makes too many mistakes and is punished by being demoted to a slave.
The young Chiyo feels very unhappy and hopeless until she is noticed by an older man, the Chairman (Ken Watanabe), who compliments her rare blue eyes and buys her an iced cherry sorbet. She admires his geisha companions and dreams of becoming as elegant as they are so that she could become part of this kind stranger’s life.
The Chairman gives her his handkerchief with some money in it, so that she could buy some food for herself. Instead she gives the money to the gods and wishes to someday become a geisha.
Cut to a 15-year-old Chiyo (Zhang Ziyi) who still loves and dreams about the Chairman, keeping his handkerchief underneath her clothes, next to her heart. Despite all odds, she becomes a maiko (geisha in training) thanks to Mameha (Michelle Yeoh) and reunites with the Chairman who has been her entire reason and motivation for becoming a geisha.
However, she has to deny the dream she has been promising herself since her childhood and entertain and romance his best friend, regardless of the Chairman’s proximity.
Another film by Park Chan-wook (Oldboy), the psychological horror begins on India Stoker’s (Mia Wasikowska) 18th birthday, when her father dies unexpectedly in a car accident. At the funeral, India’s unbalanced mother Evelyn (Nicole Kidman) introduces her to her uncle Charlie (Matthew Goode), a man she had never known existed. After traveling around the world for the past two decades, Charlie starts to live with them, seemingly to offer his support after this family tragedy.
Evelyn grows closer to him, since he reminds her of her husband when they first met and fell in love. India, however, rejects all his attempts at friendship. She takes the bus home even though he is there to pick her up (much to the schoolgirls’ delight) and declines his umbrella when it’s raining heavily.
India discovers more about Uncle Charlie than she wants to and becomes drawn to him. Evelyn and India’s jealousy of each other’s time with him leads them to resent each other even more. Charlie seems to play with India’s emotions and leads her into the dark path that he is on. Their relationship, besides incestuous and unhealthy, is dangerous – for everyone.
15-year-old Sarah Williams (Jennifer Connelly) is left in charge of her baby brother Toby while her parents go out for the evening. Toby is hugging her favorite teddy bear and she dramatically responds by wishing for Jareth the Goblin King (David Bowie), a character from her favorite play to take Toby away. Surprisingly enough, he appears and does just that, despite her pleas to leave them alone, saying that she was just being melodramatic.
As a compromise, he gives her thirteen hours to find her way through his labyrinth and save Toby before he turns him into a goblin. Sarah falls into a trap, causing her memories and motives to fade. She escapes into a dream world set in a ballroom with 80s dresses and Bowie pop songs, where Jareth finds and dances with her.
The Goblin King shows in the most contradictory way, that he is doing all this because he is in love with her. His obsession with her is why he tortures Sarah so that she becomes trapped in his world forever. He illogically insists that he would be her slave, if only she does everything he wants.
Noah Baumbach’s “The Squid and The Whale” focuses on the inappropriate behavior and dysfunctional relationship between the egotistical, once-promising author turned English teacher Bernard Berkman (Jeff Daniels) and his newly separated and serial cheating wife (Laura Linney) as parents who share joint custody of their two maladjusted sons, Walt (Jesse Eisenberg) and Frank (Owen Kline).
One of Bernard’s college students, Lili (Anna Paquin) who writes explicit, “racy” metaphorical poetry about her sexual experiences, asks him whether he could help her find a new place to live. He immediately responds by offering her the extra room in his house that he shares with his children half the time. She accepts and starts living with him.
His sons don’t blink an eye to what appears to the viewer’s as an obvious cross of boundaries. Walt, who’s only a bit younger than Lili, develops a crush on her. Bernard and Lili publically go to events together, leading other people to assume they’re in a relationship, which Walt always denies.
The pairing is made all the more unfitting and creepy when one considers that Daniels and Paquin were in a movie together before, in 1994’s “Fly Away From Home”, where Daniels plays her 13-year-old character’s father. However, Paquin is no stranger to the Lolita complex, portraying provocative students in films “25th Hour” with the late Philip Seymour Hoffman and “Margaret” with Matt Damon.
Jenny (Carey Mulligan) is a bored 16-year-old student focused on getting into Oxford University. Her days revolve around studying and her free time is spent practicing cello in the hopes of becoming a more attractive candidate. Enter the rich and sophisticated David (Peter Sarsgaard), who offers Jenny a lift back from cello practice one rainy day. He draws her into his glamorous lifestyle, a welcome change from reading Latin dictionaries.
David charms her strict parents into allowing her a night on the town with his ‘aunt’ i.e his friends, (Dominic Cooper, Rosamund Pike). This soon escalates to a weekend trip to Oxford and culminates in a trip to Paris for her 17th birthday. She becomes complicit in his lies and revels in fine-dining restaurants and night clubs.
Despite her youth, she is mostly in control, dictating the opportune moment for sex, refusing David’s baby talk and shuts down his cringe-worthy suggestion that she should first lose her virginity to a banana.
David’s age never seems to bother anyone; her friends are all intrigued by his car and Jenny’s new French cigarettes. Her parents disregard his age in favor of his interesting conversations and social connections. Only her sixth form teachers seem to care about her stirring away from her education for an older, rich man. No one expects anything bad from David, not unless they truly know him.
Best friends Enid (Thora Birch) and Rebecca (Scarlett Johansson) have just graduated high school. In this transitory phase of their lives, they have nothing much to do besides follow strangers and eat at a 50s diner. They notice a personal ad in which a man is seeking the blonde woman in the yellow dress with whom he had a “moment” at the airport. They are amused by this pathetic advertisement and prank call him pretending to be the blonde and arrange a meeting.
They watch the lonely, middle aged man Seymour (Steve Buscemi) show up and wait for the blonde. After a while, he realizes that he’s been stood up and dejectedly leaves. The girls stalk him back to his place, rifle through his mail, ridiculing his subscriptions. Both girls meet him at his empty garage sale nearby.
Enid’s amusement soon turns to pity towards Seymour. She starts hanging out with instead of Rebecca, going to his dinner party, to a jazz club, to diners and hanging out at his place. She changes his normal, dull routine and convinces him to try more things and get out more, even managing to persuade him to go into a sex shop.
She tries to help the reluctant Seymour to find a girlfriend, but once he succeeds, he feels that their age gap seems inappropriate and starts to avoid her. This leads to Enid becoming more persistent and even jealous of his new girlfriend.
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