: Renato Polselli was known for blending gothic atmosphere with extreme eroticism. This film is often cited as part of his later, more obscure period where the boundaries between professional cinema and experimental "filmed theater" became blurred. Production Context
: The film was reportedly based on an idea stolen from director Sergio Pastore, who originally intended to make a film about the historical figure Joanna I of Naples (Giovanna D'Angiò).
Nella serie "Morbida Marina e la sua Bestia", Abramović ha collaborato con la tecnologia per creare opere d'arte innovative e immersive. I lavori di questa serie sono infatti accompagnati da installazioni sonore e luminose, che creano un'atmosfera unica e coinvolgente.
The plot follows as a fictionalized version of her real-world persona. Contemplating her retirement from the adult film industry, she decides she wants to create one final, definitive work. Her vision for this swan song involves an explicit encounter with her beloved farm stallion, named Principe. She hires a screenwriter named Giuliano (played by Giuliano Rosati) to draft a script that can weave this premise into a movie. morbida marina e la sua bestia work
She poured the man another glass of robusto. “Then drink to his health, Matteo. He leaves us alone, we leave him alone.”
It is a story of reclaiming the "monstrous feminine."
The story unfolds as Marina dictates her ideas to Giuliano, the screenwriter, and Cecilia, his secretary. As she describes the scenes, the film cuts to her vivid and perverse imagination, which forms the core of the movie. : Renato Polselli was known for blending gothic
Define the work's historical context. Released in 1984, the film sits at a crossroads where Italian "B-movies" and the rising hardcore industry merged.
L'opera di Morbida Marina e la sua bestia ha avuto un impatto significativo sull'arte contemporanea. Ha ispirato una nuova generazione di artisti a esplorare temi come l'introspezione, la psicologia e la condizione umana. L'opera ha anche sollevato questioni importanti sulla ruolo dell'artista nella società e sulla capacità dell'arte di influenzare la cultura e la politica.
: The story is straightforward: Marina, playing a version of herself, wishes to retire but wants to make one final film involving her stallion. She enlists a screenwriter, Giuliano, to draft the script. Nella serie "Morbida Marina e la sua Bestia",
The film was produced in Italy during a transformative era for the country's adult entertainment industry. The key figures behind the project include:
The financial success of the work led to a poorly received, loosely associated sequel in 1985, Marina e la sua bestia 2 , directed by Renato Polselli. The sequel relied on artificial latex props and lacked the distinct arthouse framing that Sacco brought to the original entry. Film Element Morbida... Marina e la sua bestia (1984) Marina e la sua bestia 2 (1985) Arduino Sacco Renato Polselli Narrative Structure Meta-fictional, nested daydreams Linear, conventional exploitation Cinematography Stylized lighting, underground auteur approach Low-budget, standard home video aesthetic
In the landscape of 1980s Italian exploitation cinema, few films have garnered as much whispered notoriety and misunderstood artistic intent as Arduino Sacco’s 1984 production, (also known as Marina and Her Beast or Una donna un cavallo ). While frequently categorized within the niche of extreme adult cinema, a closer look at this work reveals a complex, often misunderstood piece of Euro-trash cinema that challenges the boundaries of genre, fetishism, and simulated reality.