1{2 "document_id": "lb_2wikimqa_c1b46a5458b15fdbfcd264b7e26e42d2cbaafb0e6dc5f48d",3 "family": "public_2wikimqa",4 "split": "test",5 "text": "Passage 1:\nStranger on Horseback\nStranger on Horseback is a 1955 American Anscocolor Western film directed by Jacques Tourneur and starring Joel McCrea. The screenplay is based on a story by Louis L'Amour. It was filmed in and around Sedona, Arizona.\n\nPlot\nRick Thorne, a circuit judge, rides into Bannerman and discovers everything in town is controlled by rich rancher Josiah Bannerman and his kin. He meets sheriff Nat Bell and district attorney Buck Streeter and asks why Bannerman's arrogant son, Tom, got away with killing a man without an arrest or trial.\nOffered no assistance, Thorne stands up to Tom and then jails him. He becomes acquainted with Bannerman's beautiful niece, Amy Lee, who is attracted to Thorne but doubts her cousin Tom is a cold-blooded killer.\nThorne finds allies in Caroline and Vince Webb, who own a gun shop and are willing to testify with evidence against Tom in court. Thorne realizes he needs to sneak Tom and the Webbs to a different town if he's to get a fair trial. Bannerman and his men pursue them, and Amy Lee watches as Tom deliberately causes Vince Webb's death. In time, Thorne gets the prisoner to the next town safely, and Amy Lee goes to court to back him up.\n\nCast\nJoel McCrea as Judge Richard 'Rick' Thorne\nMiroslava as Amy Lee Bannerman\nKevin McCarthy as Tom Bannerman\nJohn McIntire as Josiah Bannerman\nJohn Carradine as Col. Buck Streeter\nNancy Gates as Caroline Webb\nEmile Meyer as Sheriff Nat Bell\nRobert Cornthwaite as Arnold Hammer\nJaclynne Greene as Paula Morrison\nWalter Baldwin as Vince Webb\nEmmett Lynn as Barfly\nRoy Roberts as Sam Kettering\nGeorge Keymas as Bannerman's Henchman\nLane Bradford as Kettering Henchman (uncredited)\nDabbs Greer as Hotel Clerk (uncredited)\nFrank Hagney as Bartender (uncredited)\n\nSee also\nList of American films of 1955\nPassage 2:\nLa Morte Vivante\nLa Morte Vivante (English: The Living Dead Girl) is a 1982 French horror-drama film directed by Jean Rollin and starring Marina Pierro, Francoise Blanchard, Mike Marshall, Carina Barone, Fanny Magier, Patricia Besnard-Rousseau and Sam Selsky. The story involves a young woman who has returned from the dead and needs human blood in order to survive.\n\nPlot\nTwo men break into an old crypt, seeking to dump toxic waste and rob the graves. When an earthquake causes the toxic waste to spill, Catherine Valmont, a young woman who died several years ago, is resurrected. She viciously kills the thieves and drinks their blood. As Catherine walks aimlessly through a field, Barbara spots her and takes a few photos, though Barbara's boyfriend, Greg, takes no notice. Catherine returns to her old house, the Valmont Mansion, and memories of her childhood come back to her, especially her childhood friend, Hélène. As Catherine wanders the house, a real estate agent shows an old couple around the property, though they show little interest. After they leave, Hélène calls the house, presumably inquiring about it. However, she hears nothing but a cherished music box, leading her to believe that Catherine may still be alive.\nThe agent later returns to the Valmont Mansion, along with her boyfriend. Catherine interrupts them having sex, killing both and drinking their blood. Hélène arrives and is shocked to discover the dead bodies. When she finds Catherine, naked and playing the piano, she assumes that Catherine didn't really die but was actually hidden for the past two years. Hélène washes the blood off Catherine, puts her to bed, and drags the bodies down to the crypt, where she discovers the bodies of the grave robbers. Catherine creeps down and begins to drink the blood from one of the bodies, but Hélène stops her. Hélène cuts her arm and lets Catherine drink her blood, until she can think of a way to supply her friend with blood.\nBarbara goes around the village asking about the woman in her photograph, but the answer is always the same: It is Catherine Valmont, and she died two years ago. Greg thinks Barbara is making too much of it, and discourages her from investigating further. Meanwhile, Hélène tries to understand what is happening to Catherine, trying to teach her to speak again. Deciding to bring her victims, Hélène pretends to be out of fuel and flags down a helpful motorist, drawing her back to the mansion. Hélène offers the woman a drink and locks her in. The woman soon begins to panic, but Hélène throws her in the crypt, where Catherine grabs her and rips her stomach out. Soon after, Barbara shows up at the Valmont mansion, seeking Catherine. Unsettled by Catherine's behavior, she attempts to phone Greg, but Hélène confronts her. They argue, and Hélène tries to take Barbara's camera. Barbara flees.\nCatherine, now more in touch with her humanity, realizes that she must be destroyed. She begs Hélène to kill her, but Hélène instead goes back to the village, to bring Catherine another victim. Barbara sees Hélène and eventually convinces Greg to accompany her to the mansion, in order to help Catherine. Hélène tortures the kidnapped girl, but Catherine rejects the unwilling sacrifice and frees her, telling her to return to the village and seek help. Drawn by the screams, Barbara and Greg go to investigate, but they are brutally murdered by Hélène. Overwhelmed by all the death and murder, Catherine attempts suicide, but she is rescued by Hélène, who offers herself to sate Catherine's hunger. Unable to resist, Catherine devours her friend alive.\n\nCast\nMarina Pierro as Hélène\nFrançoise Blanchard as Catherine Valmont (\"The Living Dead Girl\")\nMike Marshall as Greg\nCarina Barone as Barbara Simon\nFanny Magiere as 6th Victim (as Fanny Magieri)\nPatricia Besnard-Rousseau\nVéronique Pinson (as Veronique Pinson)\nSandrine Morel as Teenage Catherine Valmont\nSam Selsky as Old American man in the house of Catherine\n\nProduction\nRollin originally sought Italian actress Teresa Ann Savoy for the title role, but when she met him, Savoy said she would never work with Rollin under any circumstances. Instead, Blanchard was cast. She found the shooting to be physically exhausting and collapsed on the set. Blanchard's performance in the ending scene in which Catherine devours Hélène and descends into madness was so believable that the crew were worried for her mental state, thinking that she had in fact gone mad.\nRollin met Pierro at the Sitges Film Festival, casting her for her strong personality, but finding her vain.\n\nRelease\nThe original release was 25 August 1982. Alternate titles included The Living Dead Girl, Lady Dracula, Queen Zombie and Scare: Dead or Alive.\n\nCensorship\nLa morte vivante was banned in Germany in 1986 for its explicit scenes of violence and gore. The film was released direct-to-video in the United Kingdom in 1994; however, most of these scenes were removed or shortened by the BBFC in order for the film to pass with an 18 certificate. A scene in which Catherine impales a woman's throat which her sharp fingernail was edited; one in which a female victim is disemboweled by Catherine was slightly cut to remove some of the prolonged gore; a scene in which Hélène slashes at a teenage girl's navel area was completely removed; the ending scene where Catherine eats Hélène alive was somewhat trimmed down; and the shot where Hélène's thumb is bitten off was cut. Some of these scenes were waived for the 2000 release, which also premiered on UK television for the first time in 2005 when it was screened on The Horror Channel. The film was eventually passed uncut in the UK in 2007.\n\nReception\nBloody Disgusting rated the Blu-ray release 3 out of 5, saying that the film has plenty of flaws but is worth watching.\n\nHome media\nIn the United States, La morte vivante was initially released on DVD in an edited version on 9 November 1999, and was available in a \"Widescreen Edition\" via Image Entertainment and Redemption. It was re-released on DVD, complete and uncut for the first time, on 25 October 2010 by Redemption. Kino Lorber and Redemption released a Blu-ray version, as well as a remastered DVD on 7 August 2012, featuring an intro by Rollin, several featurettes and interviews, and a 12-page booklet.In the United Kingdom, the film was first made available on VHS format in a direct-to-video release in 1994. It was issued on DVD on 2 May 2000, followed by a reissued VHS version on 8 May 2000. The DVD contained a cropped 4:3 aspect ratio, which was a transfer from the original video release and reversible cover artwork. Redemption released two subsequent DVD editions in the UK, the first on 3 September 2007, presenting the film complete and uncensored for the first time. The second was released on 18 May 2015, containing newly commissioned artwork.La morte vivante, under the title The Living Dead Girl, received a Blu-ray release in the UK in 2018. Released by Black House Films, this version of the film has a 1:78:1 aspect ratio.\nThe complete uncut version was released by Encore in Europe on 30 November 2005 in a 2-DVD set with a new aspect ratio of 16:9/1.78:1. The special features included introductions by Blanchard (in French with English subtitles) and Rollin, selected scenes commentary by Blanchard (in French with English subtitles), a bonus soundtrack CD, a 64-page essay booklet, and interviews (all in French with English subtitles) with Blanchard, Jean-Pierre Bouyxou and composer Philippe d'Aram.\nPassage 3:\nLa Morte\nLa Morte (French pronunciation: [la mɔʁt]) is a commune in the Isère department in southeastern France.\n\nPopulation\nSee also\nCommunes of the Isère department\nPassage 4:\nJacques Tourneur\nJacques Tourneur (French: [tuʁnœʁ]; November 12, 1904 – December 19, 1977) was a French film director known for the classic film noir Out of the Past and a series of low-budget horror films he made for RKO Radio Pictures by Val Lewton, including Cat People, I Walked with a Zombie, and The Leopard Man. He is also known for directing Night of the Demon, which was released by Columbia Pictures. While in Hollywood, he was usually addressed by his anglicized name \"Jack Turner\", a literal and phonetic translation of his name in English.\n\nLife\nBorn in Paris, France, Tourneur was the son of Fernande Petit and film director Maurice Tourneur. At age 10, Jacques moved to the United States with his father. He started a career in cinema while still attending high school as an extra and later as a script clerk in various silent films. Both Maurice and Jacques returned to France after his father worked on the film The Mysterious Island in 1925. Tourneur died in 1977, aged 73, in Bergerac, Dordogne, France.\n\nCareer\nTourneur began work as an editor and assistant director. He made his debut as a director on the French film Tout ça ne vaut pas l'amour in 1931. Tourneur went to Hollywood in 1934 where he had a contract with MGM Studios. While working as the second unit director on the film A Tale of Two Cities he met film producer Val Lewton.Tourneur made his feature debut as director in the 1939 film They All Come Out. After Tourneur was dropped by MGM in 1941, he was picked up by Lewton to film several acclaimed low-budget horror films for RKO Studios including Cat People and I Walked with a Zombie.Cat People, although considered a B movie and made on a limited budget, was distinguished by a style of lighting and cinematography that has been imitated countless times. Tourneur was promoted to the A-list at RKO, directing films including Out of the Past and Berlin Express. In the 1950s, Tourneur became a freelance director, filming various genre films including Wichita, Anne of the Indies, Way of a Gaucho, Nightfall, The Flame and the Arrow, Stars In My Crown and Night of the Demon. His last two films, made for American International Pictures and starring Vincent Price, were The Comedy of Terrors (1963) and War-Gods of the Deep (1965).After his final days working for film, Tourneur began directing television episodes. Tourneur filmed episodes of The Barbara Stanwyck Show, Bonanza, The Twilight Zone, and The Alaskans. Tourneur's final director credit was for an episode of T.H.E. Cat in 1966. Tourneur then retired and returned to France.\n\nFilmography\nDirector\nFeature films\n\nShort films\n\nTV\n1955-1961 : General Electric Theater, 4 episodes\n1955 : The Martyr\n1955 : Into the Night\n1960 : Aftermath\n1961 : Star Witness: The Lili Parrish Story\n1956 : Fireside Theater, 3 episodes\n1956 : A Hero Returns\n1956 : Kirsti\n1956 : The Mirror\n1957 : Schlitz Playhouse of Stars, 1 episode\n1957 : Outlaw's Boots\n1957 : The Walter Winchell File, 3 episodes\n1957 : The Steep Hill\n1958 : House on Biscayne Bay\n1958 : The Stopover\n1958 : Cool and Lam, CBS Productions\n1958 : Northwest Passage, 8 episodes\n1958 : The Gunsmith\n1958 : The Burning Village\n1958 : The Bond Women\n1959 : The Break Out\n1959 : The Vulture\n1959 : The Traitor\n1959 : The Assassin\n1959 : The Hostage\n1959 : Bonanza, 1 episode\n1960 : Denver McKee\n1959 : The Alaskans, 1 episode\n1960 : The Devil Makers\n1960 : The Barbara Stanwyck Show, 11 episodes\n1960 : The Mink Coat\n1960 : Ironbark's Bridge\n1960 : The Miraculous Journey of Tadpole Chan\n1961 : Frightened Doll\n1961 : The Choice\n1961 : Sign of the Zodiac\n1961 : Adventure on Happiness Street\n1961 : The Golden Acres\n1961 : Confession\n1961 : Dragon by the Tail\n1961 : Dear Charlie\n1962 : Adventures in Paradise, 1 episode\n1962 : A Bride for the Captain\n1962 : Follow the Sun, 1 episode\nSergeant Kolchak Fades Away\n1963 : The Twilight Zone, 1 episode\n1963 : Night Call\n1966 : T.H.E. Cat, 1 episode\n1966 : The Ring of Anasis\n\nAssistant director or editor\n1929 : Le Navire des hommes perdus (Das schiff der verlorenen menschen), directed by Maurice Tourneur\n1930 : Accusée, Levez vous, directed by Maurice Tourneur\n1931 : Maison de danses, directed by Maurice Tourneur\n1931 : Partir, directed by Maurice Tourneur\n1932 : Au nom de la Loi, directed by Maurice Tourneur\n1932 : Les Gaités de l'escadron, directed by Maurice Tourneur (Editor)\n1933 : Les Deux Orphelines, directed by Maurice Tourneur (Editor)\n1993 : Lidoire, directed by Maurice Tourneur.\n1933 : Obsession, directed by Maurice Tourneur (uncredited)\n1933 : La Fusée, directed by Jacques Natanson (Editor)\n1933 : Le Voleur, directed by Maurice Tourneur\n1934 : Rothchild, directed by Maurice Tourneur (Editor)\n1935 : A Tale of Two Cities, directed by Jack Conway, war sequences, (séquence de la prise de la Bastille).\n\nPosterity\nLa Mort en direct (1980), film by Bertrand Tavernier is dedicated to deceased film director Jacques Tourneur\n”There are films that watch us grow old ” Serge Daney. Quoted by Serge Le Péron in (Jacques Tourneur Le Médium), film by Alain Mazars, 2015. \nBy naming the main character Jessica Holland in his film Memoria (2021), Apichatpong Weerasethakul pays tribute to Jacques Tourneur’s film I Walked with a Zombie.\nPassage 5:\nJean Rollin\nJean Michel Rollin Roth Le Gentil (French: [ʒɑ̃ mˈɪtʃəl ɹˈəʊlɪn lˈə dʒˈɛnt]; 3 November 1938 – 15 December 2010) was a French film director, actor, and novelist best known for his work in the fantastique genre.\nRollin's career, spanning over fifty years, featured early short films and his achievements with his first four vampire classics Le viol du vampire (1968), La vampire nue (1970), Le frisson des vampires (1970), and Requiem pour un vampire (1971). Rollin's subsequent notable works include La rose de fer (1973), Lèvres de sang (1975), Les raisins de la mort (1978), Fascination (1979), and La morte vivante (1982).His films are noted for their exquisite, if mostly static, cinematography, off-kilter plot progression, poetic dialogue, playful surrealism and recurrent use of well-constructed female lead characters. Outlandish dénouements and abstruse visual symbols were trademarks. Belied by high production values and precise craftsmanship, his films were made with little money, often against deadlines. In the mid-1970s, lack of regular work led the director to direct mostly pornographic films under various pseudonyms, an activity he continued until the early 1980s.\n\nEarly life\nJean Rollin was born in Neuilly-sur-Seine (now Hauts-de-Seine), France, to Claude Louis René Rollin-Roth-Le Gentil, an actor and theatre director who went by the stage name Claude Martin, and his wife Denise (née Leffroi), an artists' model. His half-brother was actor Olivier Rollin.\n\nCareer\nRollin had a passion for cinema from an early age. He saw his first film during the second World War. It was Capitaine Fracasse, a 1942 film directed by Abel Gance. Rollin decided he wanted to make films when he grew up; his father, a theatre actor, was a heavy influence on him. During his teens, he developed an obsession for American serials and read comic books. \nWhen he was 16, he found a job at Les Films de Saturne, helping write invoices while earning some money though he wanted to be involved in cinema. They specialized in creating opening and closing credits and short cartoons, but real films were also shot such as industrial shorts and documentaries. Rollin was part of the crew in a short documentary about Snecma, a big factory in France which built motors and planes. He arranged the tracking shots, laid the tracks, checked the electricity, and helped the cameraman.\nWhen Rollin did his military service for the French army, he worked as an editor in the cinema department alongside Claude Lelouch. They worked on army commercials with Lelouch directing and Rollin editing. They also made two films, Mechanographie, a documentary, and La Guerre de Silence (The War of Silence), a real film with actors and a story.\nIn 1958 after leaving the army, he directed his first short film Les Amours Jaunes (The Yellow Lovers). He shot it on a 35mm Maurigraphe camera, and used a beach in Dieppe as his location, the same beach used in his later films.\n\n1960s\nIn 1960, Rollin decided to direct his first feature film, but later abandoned the project as he had no money to finish it. His next short, Ciel de Cuivre (Sky of Copper), was directed in 1961, and was quite surreal though it told a sentimental story. He did not finish the film because he ran out of money and it was not very good. The footage is now lost.\nIn 1962, he was as an assistant director on the film Un Cheval pour Deux (A Horse for Two), which was not a great experience for him, and he decided to approach cinema in a different way. In the early sixties, Rollin became interested in politics and made a short documentary in 1964 called Vivre en Espagne (Life in Spain). It was about Generalissimo Francisco Franco, thirty minutes were filmed but he risked a lot to get it made. Rollin and the crew found themselves pursued by the police and just managed to make it back into France. Jean also directed a short film in 1965 called Les Pays Loins.\n\nIn 1968, Jean directed his first feature Le Viol du Vampire (The Rape of the Vampire). At the time he was still not known in the world of cinema, having only done a few short films and documentaries. The film was shot on a low budget, and consisted of two parts because it was originally intended to be another short film; the second part was later added so that it was released as a feature film. The release of Le Viol caused public scandal and outrage, his strong inspiration of American serials did not attract viewers. It was released during the events of May 1968, and due to the riots, it was a rare theatrical production at the time. Rollin himself was also threatened due to this scandal, because of this, he briefly decided to give up making films.\nHis second feature La Vampire Nue (The Nude Vampire) was his first film in colour. It was mostly inspired by the 1916 film Judex, and also surrealism in general. Rollin wanted to do something a little more temperate than Le Viol, a traditional mystery film. Anyway, as he himself stated, it came to be the same kind of film as his first feature, it also has the same spirit. La vampire nue also became notable in that it introduced Catherine and Marie-Pierre Castel, twin sisters who frequently collaborated with Rollin during the early years of his career.\nFollowing La vampire nue, Rollin found himself in a financial crisis and having suffered an accident during production which left him traumatized, the circumstances took a positive turn when he met with producer Monique Nathan, owner of the Films Moderns company. Nathan having put her faith and support in Rollin, turned down several a number of the most prominent French New Wave filmmakers for financing and instead entirely supported Rollin as both a producer and a co-screenwriter for his next project, Le Frisson des Vampires (Shiver of the Vampires) which was heavily influenced by the trappings of the hippie movement. It did however retain many of the themes one could expect from a Rollin film and one of the most iconic scenes ever to appear in a Rollin film: actress Dominique emerging from an old grandfather clock. Production for the film took place in an abandoned castle in Soissons, a commune in the Aisne department of Picardy.\n\n1970s\n1971, Rollin directed Requiem pour un Vampire (Requiem for a Vampire), which became one of his most successful films, and it was another low budget production, which almost took no money to produce. There was no dialogue in the first forty minutes of the film, this was in Rollin's words to make the \"ultimate naive film\", simplifying the story, direction and cinematography. Initially, Rollin had Catherine Castel in mind to play one of the leading ladies in Requiem; however, Castel was unable to accept the role due to being pregnant, which forced Rolling to offer the role to Maire-Pierre. The second female lead was portrayed by Mireille D'argent whom Rollin chose after she was introduced to him by an agent. Rollin discovered that D'argent's agent was collecting her wages, which prompted him to contact a lawyer and have her wages returned to her. Requiem was filmed in the small village of Crêvecoeur. The graveyard was located outside the village on a knoll. The castle, a historical place entirely furnished with genuine antiques, all of which were worth a fortune, had been rented from the duchess of Roche-Guyon. It wasn't her castle that Rollin and the crew were interested in, but the ruins of the dungeon above, that overlooked the entire area. Following this, Rollin made a temporary departure to creating films associated with the erotic vampire genre.\nHaving risen to success during his early vampire era, Rollin embarked on a different approach to filmmaking. Rollin financed his 1973 film La Rose de Fer (The Iron Rose) himself and was convinced that it would become a failure, leading to financial ruin. Prior to production, he engaged in a deal with Impex films to direct a number of hardcore porn films in the near future in order to produce La rose de fer and ensure that it would not fail. The story follows two young lovers (Françoise Pascal and Hugues Quester) who meet at a wedding reception and agree to go on a date, for which they decide to take a walk in an enormous cemetery. As they make love in an underground tomb, strange and bizarre occurrences take place above ground. As night falls, they frantically try to escape from the cemetery, and with no luck, end up where they started. They are slowly overcome with hysteria and paranoia which brings about their mortality. The film was shot in the city of Amiens over a four-week period and premiered at the 2nd Annual Convention of the Fantastique in Paris in April 1973 and was initially met with a negative reception and as a result, Rollin was unable to find anyone to back his future personal projects.Rollin directed the adult sex films Jeunes filles impudiques (Schoolgirl Hitchhikers), Le sourire vertical (The Vertical Smile), and Tout le monde il en a deux (Bacchanales sexuelles or Fly Me the French Way) under the pseudonym Michel Gentil as he was financially unable to come up with a budget for another mainstream feature film. However, in 1974 Rollin directed the horror adventure and self-proclaimed \"Expressionist\" film Les démoniaques which was inspired by the adventure classics he had enormous admiration for in his youth. The film includes Joëlle Cœur and Willy Braque whom Rollin worked with on Jeunes filles impudiques. The story follows two young women who have been involved in a shipwreck and are brutally raped and murdered by a group of rogue pirates, only to be resurrected after making love to the devil so that they can seek their revenge. Rollin had many disputes with the producers of the film during production of the project as they insisted on a low budget. He was hospitalized for two weeks following the work due to mental and physical exhaustion. Further problems would arise including the working title, Les diablesses, having to be changed as the copyright was not free of charge and with the Castel Twins being unavailable for the roles of the avenging ghosts, the parts where offered to inexperienced actresses Lieva Lone and Patricia Hermenier.Rollin made a brief return to the erotic vampire genre in 1975 when he wrote and directed Lèvres de sang (Lips of Blood). The film includes all the surreal dreamlike aspects for which Rollin's films are known. The story follows a young man named Frederic who is on a quest to find a woman dressed in white following the discovery of a photo of a ruined château. The photo triggers a suppressed childhood memory, which may be a dream. Despite his mother trying to convince him that it was dream, Frederic becomes fixated and obsessed with location the castle and the woman that may be inside. Lèvres de sang features Jean-Loup Philippe, whom Rollin co-wrote the film with, Annie Belle, and Nathalie Perrey, whom Rollin had worked with frequently throughout his career as a credited actress, script writer and editor. The film also sees the return of the Castel Twins as part of a group of vampires.\nDue to the commercial failures of both La rose de fer and Lèvres de sang, Rollin again had no choice but to direct another adult sex film for financial reasons as there was no possible way to produce a feature film for the foreseeable future. Phantasmes (Once Upon a Virgin) was written and directed by Rollin for release in 1975 and was the first and only pornographic film in which he was credited under his own name because he liked what he did in the film. Rollin mentioned that the film is his \"first and final attempt at a serious\" adult film, wanting to create a film that didn't just \"poke fun at sex\". The score for Phantasmes is considered one of the films best attributes, courtesy of composer Didier William Lepauw of Lèvres de sang.Between 1976 and 1977, his work consisted strictly of hardcore pornographic films as there was a lack of money and producers reluctant to fund any new mainstream projects due to his previous commercial failures. Seven porn films were produced within this period under his pseudonym Michel Gentil, and one of which, Suce moi vampire (Suck Me Vampire: the hardcore version of Lèvres de sang), he credited himself as Michel Gand. His 1976 hardcore film Douces pénétraitions marked the final time the Castel Twins would appear together working for Rollin, and the final time Marie-Pierre would work with him altogether. Catherine would continue to appear in his films for several years.\nJean Rollin returned in 1978, when he wrote and directed Les raisins de la mort (The Grapes of Death) which has been considered the first French gore film. It has been described as one of the most pivotal films in his entire canon and is seen as a rare departure from his usual dreamlike and poetic works. Following the negative reception and commercial failures of his previous films and having to direct pornographic pictures, Rollin eventually gained financial backing to produce his next mainstream feature. The story here features a young woman, Elisabeth (Marie-Georges Pascal) who is travelling to a secluded vineyard in the mountains owned by her fiancé. There she discovers that the local residents who occupy the village have been transformed into mindless zombies by a dangerous pesticide which contaminated the grapes growing at the vineyard following a wine festival which occurred some days before.\nThe film includes pornographic actress Brigitte Lahaie, in her first mainstream role, as Rollin was the first French director to recognise her acting capabilities and offer her much more prominent roles in his subsequent films. Rollin stated that Les raisins de la mort was his \"first traditional, almost conventional, production\" which was because the film acquired solid finances with made a change and with special effects supplied by Italian experts. Claude Becognee served as director of photography which added to the film's success. Rollin would credit much of the film's success to Marie-Georges Pascal's portrayal of Elisabeth, whom he would recall delivered a very \"moving\" performance in the film. Les raisins de la mort was shot in the deserted mountain region of Les Cévennes.\nThe film is often referred to as being influenced by George A. Romero's Night of the Living Dead. However, it has more in common with Jorge Grau's 1974 Spanish-Italian horror film Let Sleeping Corpses Lie (also known as The Living Dead at Manchester Morgue). The film does not follow the tradition zombie method, instead, Rollin's zombies centre on madness with a strong environmentally conscious message. As he has mentioned, the zombies \"have retained their consciousness\" and they finally \"suffer for what they are\". With the film as a notable success, Rollin would continue with pornographic films under a new pseudonym, Robert Xavier, while retaining the Michel Gentil credit.\nIn 1979, and now established as a somewhat successful director, Rollin created Fascination in which he returned to the roots of the fantastique genre his early works are known for. The film is inspired by the short story Un verre de sang (A Glass of Blood) from French poet Jean Lorrain with tells the tale of wealthy French people, who, at the turn of the century, begin to drink the blood of bulls in order to cure anemia. The title of the film refers to and pays homage to a French magazine of the same name which is dedicated to different forms of eroticism in art. Rollin's story of Fascination differs slightly from that of Lorrain's novel, in that, in the year 1905 a group of wealthy Parisian women arrive at an abattoir to drink the blood of an ox as it is believed to be a curative for anemia. The central story follows two lovers Elizabeth and Eva (Franca Maï and Brigitte Lahaie respectively), chambermaids-in-waiting who reside at a deserted castle and are suddenly interrupted by a thief named Mark (Jean-Pierre Lemaire), who takes refuge at the castle in order to hide from a group of thieves he has stolen coins from. When Mark makes love to Eva, she is forced to go outside and confront the thieves in the nearby stables to make a deal; she is forced to have sex with one of the male thieves and subsequently they are murdered by Eva in an iconic scene with Eva wielding a scythe. It is soon revealed that Elizabeth and Eva are expecting a group of women to arrive where sensual love making takes place and the women are revealed to devour the blood of humans.\nThe film is often said to be of the vampire genre. However, it does not feature the elements which his early vampire films are known for, aside from the drinking of blood. The production of Fascination was not without complications; as it may have been one of the easiest films to shot in Rollin's experience, despite the low budget, the story was met with disapproval from the film's producer, Christine Renaud. As Rollin himself had said, the \"co-producer wanted (him) to make a very explicit sex film-straight exploitation fare without too much emphasis on the fantastical elements\". Rollin overcame these obstacles and made the film he wanted. Additional members of the crew included Nathalie Perrey, who designed the costumes, and Philippe D'Aram, who provided the score. It was predicted that Fascination would lead to success, as did Les raisins de la mort. However, in a setback, one of the directors of UGC, a huge French distributor, cancelled the screenings Rollin had been promised. As the film was yet another financial failure for Rollin, he had little choice but to resume his pornographic works with continued until the end of the 1970s.\n\n1980s\nAs Jean Rollin's career continued into the 1980s, he started off the decade with the release of La nuit des traquées (The Night of the Hunted) in the summer of 1980. This mainstream feature saw the return of pornographic actress Brigitte Lahaie, in her first leading role in a Rollin film. Upon the film's debut, it was considered a failure. However, it eventually garnered somewhat of a following in later years, as several of Rollin's works have done in the past. La nuit des traquées was shot in less than ten days on an extremely low budget, similar to his pornographic films. Rollin admitted that \"I was tired of X-films\", as the film was intended to be another hardcore sex film and told the producer \"if you want a horror film for the same cost\", then, \"I can make it in 9 days\". Rollin came to the decision to cast actors of the pornographic industry in the picture in order to keep production cost down and to give the actors the opportunity to show their legitimate talent. The film stands as a noteworthy piece of work in Rollin's canon, as it differs from any of his previous work and is a departure from the fantastique genre that his films are greatly known for; the film is often poetic, yet it serves a realistic tone and chilling atmosphere. Lahaie portrays the character of Elizabeth, a young woman discovered wandering around in the rain on a dark night, by a man named Robert (Vincent Gardère). As Elizabeth has no recollection of why she is there and frequently continues to lose her memory every few minutes, Robert drives her to his apartment in the city where they make love. The following morning while Robert goes to work, a doctor named Francis and a woman named Solange (Bernard Papineau and Rachel Mhas) locate Elizabeth and accompany her back to the clinic where she has escaped from. It is revealed that Elizabeth and fellow patients are currently confined to the hospital for a deteriorating disease in which they have been contaminated by an environmental accident.\nIn addition to Lahaie, Rollin had actress Martine Delva in mind for the role of Lahaie's character's friend Véronique. Delva was introduced to Rollin and Lionel Wallman by actor Alain Plumey and when offered the role, she accepted the role. Prior to production, which was intended to take place in La Défense district, she was involved in a serious car accident which left her unconscious with a broken leg and she died within one week from her injuries. The role of Véronique then offered to Dominique Journet. Pornographic actress Catherine Greiner and frequent collaborator, Natalie Perrey appeared as patients at the hospital.\nIn the early year of the film, it was met with a negative reception and did not please audiences during its release; not receiving a successful response at the Stigès Festival,. It did however receive positive reaction when it was screened at a festival in Trieste, where it was applauded and viewed as a highly subversive work. Rollin himself had stated that \"I don't think it is a very good film and it is probably one of my worst\" and that if he could remake just one of his films it would be La nuit des traquées.In 1980, Rollin directed the Spanish zombie horror feature, Le lac des morts vivants (commonly known as Zombie Lake) under the pseudonym J.A. Lazer. Jésus Franco was intended to direct the film, and with an unfortunate turn of events he became unavailable. At this point, Rollin was planning to take a vacation, and on the morning he was expecting to leave, he received a phone call from the production company Eurociné asking if he would be interested directing the horror film which was due to start filming the next morning, as Franco could not be located. Rollin agreed, and arrived on set the following morning. The company could not attach Rollin's name to the project due to issues with the contact, as a Spanish name had to be credited for the film and J.A. Lazer was chosen. Le lac des morts vivants was released in 1981 and Rollin admitted that he never really cared for the film. It contains most of the elements which one would expect from a Franco film, and includes Franco's frequent collaborators such as actors Howard Vernon, Nadine Pascal, Antonio Mayans and Alain Petit, and composer Daniel White. Photography for the film was courtesy of Max Monteillet, who Rollin would later work with in several projects. Rollin himself made a cameo appearance in the film.In 1981, Rollin returned with the drama film, Les paumées du petit matin (The Escapees or The Runaways). It marks a departure to the usual horror tones which his films are notable for, and here mixes drama with elements of adventure, thriller and crime, while maintaining erotic and poetic themes and remains a distinctive and unique piece of work from Rollin. The story follows two young women who are confined to mental asylum in the countryside; Michelle (Laurence Dubas), a troubled teenager, has been returned to the asylum after escaping and is forced into a straitjacket. She manages to get the attention of Marie (Christiane Coppé), a teenage girl who is who sits in the garden on a rocking chair, while staring into space and never speaks, by dropping a tin food dish from her bedroom window and the sound somehow brings Marie back to reality. They escape from the asylum and encounter a group of burlesque dancers, a bar singer and a group of women who proceed to rape Marie. Their journey ends when they become involved in crime and death. The cast includes Rollin's usual collaborators Louise Dhour, Nathalie Perrey, Brigitte Lahie and a cameo appearance from Rollin himself. Les paumées du petit matin unfortunately failed to receive a proper theatrical in 1981 which resulted in it being one of the most difficult Rollin films to find in future. It did however receive its first DVD release in 2009 in the United States courtesy of Redemption Films, with a subsequent release in the United Kingdom. Again with a limited budget an issues with the script, Rollin stated that there were many problems with the production right from the beginning; that it was \"an incredible mess\", filled with \"clichés and platitudes of melodrama.\" Later reviews of the film have been quite positive; Cathal Tohill and Pete Tombs would go so far as to call it a schizophrenic work in their wonderful Immoral Tales, but they would also note that \"the beginning and end are pure Rollin\" and \"what is good in (The Escapees) is very good.\"\nHis 1982 film, La morte vivante (The Living Dead Girl) was his most commercial and successful work since Les raisins de la mort. In addition to its small budget, Rollin again had to contend with producers to construct a film that he wanted, as they required another zombie piece. He was reluctant to do so and was influenced to create a film with combinations from his previous works. Rollin described that the living dead girl is sort of a vampire woman who devours the blood of humans, taking the idea from his vampire works, but not exactly making her a vampire. The gore is a notable aspect taken from Les raisins de la mort. His usual poetic, supernatural and horror themes are still present within the film. Rollin created the story of a young woman named Catherine Valmont (Françoise Blanchard) who has been dead and buried in her family vault beneath the Valmont mansion for the past two years. As three thieves enter the vaults and plan to rob Catherine and her deceased relative of their jewellery as they lay in their coffins, an earth tremor occurs, which suddenly resurrects Catherine. Unaware of her surroundings, she must acquire human victims and drink their blood to prevent her descending into madness and possibly death, with drifting in and out of childhood memories of her childhood friend, Hélène (Marina Pierro). During which, a photographer, Barbara (Carina Barone), becomes fascinated by Catherine when she discovers her and thinks she is quite peculiar, and sets out to uncover a mystery. Catherine's childhood friend, Hélène is intending to buy the Valmont mansion, which is currently on the market and a strange phone call leads her to the home where she discovers that Catherine is alive and the bodies of the thieves and the real estate agent and her boyfriend. Trying to convince herself that Catherine did not actually die, she realises that she has returned from the dead and must help her by bringing her unsuspecting victims. Some of the financing for the film was courtesy of Jacques Raif, who co-wrote the feature. The film's photographer Pierre LeBlond, found a castle which would become the Valmont mansion, which they rented. The castle provided accommodation for the cast and crew, in which the owner offered to cook. According to Rollin, the owner insisted on being referred to as \"His Lordship\" and that he was very difficult to get along with Actress, Françoise Blanchard was introduced to Rollin by Fanny Magier, a co-star actress who appeared in the film. When Blanchard arrived, Rollin was unsure whether to offer her the role of Catherine due to the fact that in the first scene in which her character is resurrected, Blanchard appeared wearing trousers which wasn't required for the scene and Rollin did not ask her to remove them. She did however receive the role due to good contact. Blanchard showed great professionalism in her role and in one particular scene, the final scene of the film, in which Blanchard's character cries and screams after devouring her childhood friend, the crew became concerned over her mental state as they thought she has descended into madness. She gave an amazing performance for the role. During the preparation of the film, Rollin had been to Rome with Lionel Wallman to find an actress to portray the role of Hélène. Rollin had Teresa Ann Savoy in mind for the role, whom he was greatly impressed with. After speaking with Savoy and showing her a script for a pornographic picture which was in English and devoid of interest and not for La morte vivante, as she didn't speak French, she refused the role and told her agent that she would never in her life shoot with a guy like him. His second choice was actress Marina Pierro, a recurring collaborator with director Walerian Borowczyk, whom Rollin instantly liked. Pierro accepted the role. In the role of the photographers, American actor Mike Marshall, whom Rollin enjoyed working with during the production received the role of Greg and Canadian actress Carina Barone, was offered the role of Barbara due to a previous actress who featured in Les paumées du petit matin turning it down as she unmistakable believed that it was supposedly an erotic film. The film was a commercial success within theatres and received quite a positive reception, especially in Italy. Upon its release, Rollin was betrayed by a dishonest distributor who premiered in a select number of small theatres behind his back, as the film deserved a much larger audience in highly established theatres. However, La morte vivante was selected in many festivals which gave the film little success, particularly in Rome where Rollin's friend, Andriano Pintaldi presented the film in his festival where it was given the public's award.After directing three additional pornographic features following La morte Vivante, Rollin's next feature film, Les trottoirs de Bangkok (The Sidewalks of Bangkok) was released in 1984. It is a rare production for Rollin, in that it does not contain his traditional fare of the supernatural, horror, or the fantastique genre. It is highly influenced by Rollin's childhood passion for old serials as it contains themes of adventure, crime and mystery, comic-book fantasy and is inspired by the 1932 Boris Karloff classic The Mask of Fu Manchu. The leading protagonist of the film is pornographic actress, Yoko, whom Rollin mentioned that he had \"never worked with an actor who was so open-minded and easy to direct.\" She portrays the role of Eva, who is on the run from the French Secret Service and a rival syndicate who desperate require a deadly chemical which she possesses. This is her only mainstream role outside of the pornographic industry. Françoise Blanchard returns in her second film with Rollin, as she appears in the role of Claudine, a woman who works for the syndicate and is forced to locate Eva and hand her over to her villainous boss, instead she chooses to protect Eva. Supporting cast includes Argentina actor Gérard Landry, Israeli actress Brigitte Borghese, Jean-Pierre Bouyxou, whom Rollin has worked with on numerous occasions throughout his career, and a cameo appearance from Rollin. On a limited budget, and again working with producer Lionel Wallman and cinematographer Claude Becognee, the production of Les trottoris de Bangkok was filmed in several locations, many of which were not given permission to; the Chinese Quarter of Porte d'Italie and on the docks where goods from Asia were unloaded, an abandoned den near the Champs-Élysées, and on part of the French railroad. The film became a success and Rollin admitted that despite the fact that the film was a mess, he said \"the entire shoot was great fun.\" Working with Yoko prompted Rollin to write a new film which included her alongside Brigitte Lahaie which unfortunately never became a film as Yoko retired from acting in the early nineties.Rollin received minor work following Les trottoirs de Bangkok; in 1985, he resumed his pseudonymous work as \"Michel Gentil\" with a non-pornographic feature, the slapstick comedy, Ne prends pas les poulets pour des pigeons which reunited Brigitte Borghese and Gérard Landry from his previous film, and included French actor and comedian Popeck. Rollin was hired, and therefore his real name was not attached to the project. In 1988, he received the uncredited directorial role in the erotic sequel Emmanuelle 6, for which he wrote the screenplay. The film suffered many flaws during production under direction from Bruno Zincone and Rollin became involved in an attempt to salvage what he could and see that production was completed for the financiers.At the end of the decade, Rollin created Perdues dans New York (Lost in New York) which was produced in 1989. Rollin mentioned that the film was \"an anthology of all the themes and obsessive images I have used in my films\", and that it, \"brought to an end what had been started within the previous 13 films.\" A friend of Rollin's who was a producer insisted his help as he need location shots of New York an upcoming TV series he was working on. Rollin agreed and travelled to New York with a small film crew and a 16mm camera. While filming the shots, Rollin was struck with an idea to improvise a theme in which two young women are separated and desperately search for one another. He produced the film with a runtime of just under one hour and immediately struggled to find distribution, whether it be released to theatres or television. It was difficult to find distribution for independent and exploitation pictures in the late eighties as in a time of revolution and change, distributors would only pick up more commercial and high-budget film. It was not until the following years that the film found its audience on the home video market. Initially, Perdues dans New York was to be the final production of Rollin's canon as he has become ill during this period, and he expressed gratitude to his many fan by paying homage to his early works.\nDespite his intentions to retire from directing following Perdues dans New York, his final film of the 1980s, Killing Car (working title Femme dangereuse) was produced in 1989. It is a revenge thriller and one of his most underrated and overlooked works. Initially intended to be a softcore production under the Michel Gentil pseudonym, Rollin attached his own name to the project and made it one of his most personal and self-referential of all his works. The film was shot on 16mm and in less than a week on a minimal budget of under $100,000. Australian model Tiki Tsang, originally of Brisbane, Queensland, had been residing in Paris, France for sometime when she was discovered by Rollin and offered her the role of \"The Car Woman\", a strange woman who steals an old Buick and proceeds to kill a number of people to seek revenge for a past tragedy. The part of \"The Car Woman\" was written especially for Tsang in what is the only film credit to her name. Killing Car gives nod to previous Rollin works including Tsang emerging from a grandfather clock (as did Dominique in an iconic scene from Les frisson des vampires). Max Monteillet returned as cinematographer and Philippe Brejean provided the score. Cast includes recurring collaborators Jean-Pierre Bouyxou and Jean-Loup Philippe. Following the production, Rollin was hospitalized due to exhaustion and started editing the film after his recovery. The editing process lasted two years. Several problems would arise during post-production, as the film found it difficult to receive distribution, like Perdues dans New York, if it could not receive a theatrical distribution, Rollin would settle for a video or television release. The film was eventually released in 1993. It was announced that no usable print or negative of the film exists today, and all known film negatives are considered lost.\n\n1990s\nRollin's final adult production came in 1994 when he made a brief return to direct (uncredited) and wrote the scenario for Le Parfume de Mathilde (The Scent of Mathilde). Rollin was initially required as a screenwriter for the production due to the fact that he was to replace producer Marc Dorcel's in-house auteur Michele Ricaud, who has just recently passed away. However, Rollin became co-director of the made-for-video film. Following his final time working on a sex film, Rollin later returned to his traditional works when he would go on to resume what he was best known for.Rollin continued his career into the 1990s, following what was intended to be a brief return in 1994 when he directed and wrote a final pornographic film. He remained true to form for what were to be his final years of film making, and his next feature went into production in 1995; Les deux orphelines vampires (The Two Orphan Vampires) saw the return of his most recognizable work, and his first vampire film since 1975's Levres de sang. With the then recent increase in popularity of Rollin's works, and with the resurgence with the vampire genre in general, most notable with Bram Stoker's Dracula, this prompted Rollin to create a new vampire feature, quite different from Francis Ford Coppola's 1992 blockbuster, as he stated that it was \"not a good film at all\", and that \"it just doesn't work for one second\". The idea of the film was based upon Rollin's novel of the same name and went into production in June 1995 for a mere ₣3,000,000, which is actually more than his prior works received. Locations for the shoot included four days in New York at the beginning, with the remaining three weeks in Paris. Cinematography was provided by Norbert Marfaing-Sintes, who previously worked with Italian director Duccio Tessari, as Max Monteillet was not available. Nathalie Perrey introduced Rollin to Marfaing-Sintes, as she had experience working with Marfaing-Sintes in many films; to show his gratitude, Rollin offered Perrey a role in Les deux orphelines vampires. The leading roles were offered to two inexperienced actresses, Alexandra Pic and Isabelle Teboul, whom Rollin choose while answering a newspaper ad they had printed. Brigitte Lahaie received a minor role in the film. Following an extensive period in post-production, the film was eventually released on 9 July 1997.\nHis next directorial feature, La fiancée de Dracula (The Fiancée of Dracula) went into production in 1999. Rollin had written the screenplay for the film, as he did with many of his previous works. During which time, Rollin was receiving dialysis for kidney disease and for periods of time, did not remain with the film crew and production was shared with Jean-Noël Delamarre in his absence, while Rolling was staying at a hotel in Caen. Filming locations included the islands of Chausey where the majority of the filming took place, a cemetery in Épinay-Champlâtreux, a castle in Blandy, Seine-et-Marne, and port of Pourville-lès-Dieppes. Long-time collaborators Brigitte Lahaie, Catherine Castel and Nathalie Perrey returned for prominent roles in the film. Rollin's niece, Sandrine Thoquet appeared in the film as a young vampire burned by the rays of the sun. Following production, Rollin received a kidney transplant in October 2000 during the post-production which lasted for almost two years. The film was successfully shown in theatres on 14 August 2002, for which Rollin was not completely satisfied of the release date. However, he was pleased that it was released to theaters and was somewhat well received.\n\nPersonal life and death\nRollin was married to Simone Rollin Roth Le Gentil (née Morel), with whom he had two sons, Serge and Carel. He was married to Simone until his death.\nRollin died on 15 December 2010 after a long battle with cancer and was survived by his wife Simone, son Serge and granddaughter Gabrielle. He is buried at Père Lachaise Cemetery in Paris. Rollin's son, Carel (1973–2001), and his wife, Simone (1934–2016), rest alongside him.\n\nSelected filmography\nThe following list consists of Jean Rollin's mainstream works as both director and writer and not of his pseudonym or pornographic works. For a complete list of his entire work, including producer and acting credits, see full filmography.\n\nBibliography\nCoulthart, John (8 December 2014). \"Review of Saga de Xam by Nicolas Devil (1967)\". { feuilleton }. Retrieved 16 October 2016.Rollin, Jean (1990). Le temps d'un visage. Éd. Saint-Germain de Prés. ISBN 2-243-03253-8.— (1993). Les deux orphelines vampires. Fleuve Noir. ISBN 978-2-265001-11-4. Other titles in the same series include Anissa, Les Voyageuses, Les Pillardes, Les Incendiaires— (1996). Ombres vives. Éd. Saint-Germain-des-Prés. ISBN 978-2-243-03542-1.— (1998). Les dialogues sans fin: précédés de quelques souvenirs sur George Bataille, Maurice Blanchot et Michel Fardoulis-Lagrange. Éd. Mirandole. ISBN 978-2-912965-10-3.— (1998). Cauchemar d'anniversaire. R. de Surtis. ISBN 978-2-912271-25-9.— (1998). Monseigneur Rat roman. Paris: Sortilèges. ISBN 978-2-251-49126-4.— (1998). La cabriole a disparu. Illustrated by Michel Solliec. Le Faouët: Liv'éditions. ISBN 978-2-910781-66-8.— (1998). Enfer privé. Belles lettres. ISBN 978-2-251-82004-0.— (1998). La statue de chair. Belles lettres. ISBN 978-2-251-82007-1.— (1999). La promeneuse romans. Belles lettres. ISBN 978-2-251-49137-0.— (2001). Vies et aventures de Jean-Pierre Bouyxou. Éd. Films ABC. ISBN 978-2-84672-009-0.— (2001). Tuatha. Belles lettres. ISBN 978-2-251-49154-7.— (2001). Gargouillis glauques (Pour une fontaine de feu). R. de surtis. ISBN 978-2-912271-98-3.— (2001). La petite fille au cerceau. Éd. Films ABC. ISBN 978-2-84672-010-6.— (2003). Estelle et Edwige, les demoiselles de l'étrange. Paris: E-dite. ISBN 978-2-84608-108-5.— (2004). Rien n'estvrai. Éd. Films ABC. ISBN 978-2-915160-02-4.— (2004). Jean-Pierre Bouyxou contre la femme au masque rouge. Paris: E-dite : Films ABC. ISBN 978-2-84608-121-4.— (2004). Les voleuses de foudre. Éd. Films ABC. ISBN 978-2-915160-00-0.— (2006). Alice et Aladin détectives de l'impossible. Éd. Films ABC. ISBN 978-2-915160-03-1.— (2005). Déraison. Éd. Films ABC. ISBN 978-2-915160-04-8.— (2005). Bestialité. Oulon: Éd. Nuit d'avril. ISBN 978-2-35072-015-9.— (2007). La petite Ogresse. Films ABC. ISBN 978-2-91516-007-9.— (2008). MoteurCoupez!: mémoires d'un cinéaste singulier. ISBN 978-2-84608-253-2.— (2009). Bille de clown. Paris: E-dite. ISBN 978-2-84608-254-9.— (2010). Jean Rollin: Écrits complets Volume 1. Paris: Édite. ISBN 978-2-84608-277-8.— (2011). Jean Rollin: Écrits complets Volume 2. E/dite. ISBN 978-2-84608-281-5.\n\nNotes\nPassage 6:\nFrançoise Blanchard\nFrançoise Denise Aline Blanchard (6 June 1954 – 24 May 2013) was a French actress and voice dubbing artist. Her most notable work is that of her role in the 1982 French film La morte vivante, directed by Jean Rollin. Blanchard had collaborated with Rollin on several occasions in films Les trottoirs de Bangkok (1984), À la poursuite de Barbara (1991) and La nuit des horloges (2007). She had worked frequently with directors Richard Balducci and Jesús Franco. She was also known for her work as a voice artist, having dubbed films, such as, Robert Altman's Popeye (1980), The NeverEnding Story III (1994) and Hackers (1995), and animated television series, Teenage Mutant Ninja Turtles and Totally Spies!\n\nCareer\nBlanchard's career stretched from between the late 1970s until the early 1990s. She may have been best known for playing Catherine Valmont in 1982 horror La Morte Vivante (The Living Dead Girl), a film from Jean Rollin.\nShe also appeared in films by directors Jess Franco and Bruno Mattei. She recalled her career in an interview, which was featured on the Encore release of La Morte Vivante, she mentioned that it was a tragedy and a coincidence that started her career in the late 1970s. While trying to make ends meet as a hand model, she lost her brother in the late 1970. Around that same time she was offered her first role, coincidentally as someone who had also lost a family member. Françoise approached the part skeptically as she remembered that at that time she was, \"aggressive against people but also a bit confused\" due to the death of her brother. She enjoyed the experience and took a serious interest in acting, so decided to take acting lessons afterwards.Blanchard soon became involved in several B movies when her career quickly became intertwined with the legendary Eurocine company. \"I liked the feel of these B movies, especially horror\", Françoise noted to Encore, which perhaps explains why she became so popular to several of the most noteworthy genre directors of the late 1970s. She also mentioned that she didn't mind nudity and even went so far as to pose for Lui Magazine in the early 1980s. After several films directors such as Pierre Chevalier, Françoise took a role in Bruno Mattei's Caligula and Messalina in 1981. The following year she appeared in Jess Franco's Revenge In The House Of Usher, and she liked Franco and admired his creativity and fire.She then appeared in the La Morte Vivante with Rollin. The night shoot on the film was mostly difficult and there were many problems with the special effects but, despite some disagreements, she liked and admired Rollin and admitted to Encore that, \"he is really nice and is very much there\". She enjoyed working with and admired her co-star in the film, Italian actress Marina Pierro, and noted, \"she is very maternal with me.\" Françoise worked again with Rollin in Les Trottoirs De Bangkok (The Sidewalks Of Bangkok), a film which she had a lot of fun making, and she appeared in his newest film production La nuit des horloges (The Night of Clocks) opposite Ovidie.\n\nDeath\nBlanchard died on 24 May 2013, twelve days before her 59th birthday. The cause of death was not disclosed.\n\nFilmography\nPassage 7:\nGiulio Questi\nGiulio Questi (18 March 1924 – 3 December 2014) was an Italian film director and screenwriter.Questi was born in Bergamo. He wrote short stories and filmed several documentaries before he started as assistant director and script writer in the movie business.\nHe is best known for the films La morte ha fatto l'uovo and Django Kill! (If You Live Shoot!).\nQuesti died in Rome, aged 90.\n\nFilmography\nPassage 8:\nMr. Right (2009 film)\nMr. Right is a 2009 British film directed by David Morris and Jacqui Morris. The jointly-made gay-themed film is the debut for both directors.\n\nSynopsis\nThe film presents life of a number of individuals who live in London's Soho area in their quest for their \"Mr. Right\". One of the highlights of the film is when all the characters gather for an excruciatingly awkward and hilarious dinner party at which wine and secrets are spilled.\nHarry (James Lance) is a TV producer but dreams to get way. He loves Alex (Luke de Woolfson), an aspiring yet insecure actor who also works as a caterer. Meanwhile Alex is struggling to create an identity for himself and decides to live independently through monetary help from his brother despite Harry wanting him back\nTom (David Morris, the co-director of the film) is a successful art dealer who is in a precarious relationship with Lars (Benjamin Hart), a handsome sometime-model. Tom finds excuses for Lars' flings so long as Lars doesn't leave him. Meanwhile Lars has this attraction to Harry and can't get over his feelings\nWilliam (Rocky Marshall) a divorced former rugby player finds it difficult very difficult to parent his nine-year-old daughter Georgie while trying to get on a new relationship with Lawrence (Leon Ockenden), a striving soap actor. Their relationship is complicated as Georgie is intent on sabotaging his relationship.\nLouise (Georgia Zaris), a fag hag, is dating Paul (Jeremy Edwards), but suspects Paul is gay. Paul is slowly but surely getting drawn into the gay scene, despite visibly and verbally protesting every step of the way.By the end of the film three months later, the characters are still striving to make new paths for themselves. Harry is appealing for Alex, now in a small studio residence to return, but the latter turns him gently down despite having feelings for him. Things are much better between William and Lawrence as Georgie becomes more accepting of their relationship. Things have soured between Lars and William. Devastated Lars catches Harry while the latter has just packed to leave everything behind for his long-planned trip away from his dreaded work. Meanwhile Paul is getting more and more into the gay scene despite putting a brave face that he is still straight.\n\nCast\nMainJames Lance as Harry\nLuke de Woolfson as Alex\nDavid Morris as Tom\nBenjamin Hart as Lars\nRocky Marshall as William\nLeon Ockenden as Lawrence\nGeorgia Zaris as Louise\nJeremy Edwards as PaulOthersJan Waters as Harry's Mother\nMaddie Planer as Georgie, Williams's daughter\nSheila Kidd as William's mother\nAndrew Dunn as Alex's Father\nKaren Meagher as Alex's Mother\nRick Warden as Alex's Brother\nKaty Odey as Presenter\nLucy Jules as Emma\nSarah Carleton as Waitress\nDolly Wells as Fizz\nHarry Serjeant as Runner\nIan Tytler as Charlie\nJim Cole as Heath\nArchie Kidd as Barnaby\nHeather Bleasdale as Barnaby's Mother\nYvonne O'Grady as Business Woman\nMax Karie as Marcel\nKate Russell as The Yellow Team\nIan Russell as The Yellow Team\nMark Hayford as The Blue Team\nDiane Morgan as The Blue Team\nTerry Bird as Red Team\nCheryl Fergison as Red Team",6 "char_len": 63204,7 "document_hash": "a233de8503906d89f4466d568bf6c8e5ceca8e6fcc152ef115b00896e8d2a9eb",8 "questions": [9 {10 "question_id": "q00",11 "qtype": "2wikimqa",12 "question": "Are both directors of films La Morte Vivante and Stranger On Horseback from the same country?"13 }14 ]15}