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  1. Constance is a 1998 feminist erotic film directed by Knud Vesterskov and produced by Puzzy Power, a division of Lars von Trier's film company Zentropa. It was the first hardcore pornographic film ever to have been produced by an established mainstream film studio.

  2. 15. Aug. 2006 · Constance „Die Fee Lola verdreht Frauen und Männern den Kopf. Ein dänischer Edelporno von Lars von Trier, Mitbegründer der berühmten Independentfilm-Bewegung Dogma. ‚Constance‘ ist direkt...

  3. Niels Dencker: Paw. Michael Larsen: Ax. Christiane Bjørg Nielsen. Constance ist ein dänischer Pornofilm des dänischen Regisseurs Knud Vesterskov. Es war der erste Film, der von der Filmgesellschaft Zentropa nach dem Pussy-Power-Manifest produziert wurde.

  4. Lars von Trier ( né Trier; born 1956) [3] is a Danish film director and screenwriter. Beginning in the late-1960s as a child actor working on Danish television series Secret Summer, von Trier's career has spanned more than five decades. [4] [5] Considered a major figure of the European film industry, he and his works have been variously ...

  5. Lars von Trier. Writer: Dancer in the Dark. Probably the most ambitious and visually distinctive filmmaker to emerge from Denmark since Carl Theodor Dreyer over 60 years earlier, Lars von Trier studied film at the Danish Film School and attracted international attention with his very first feature, The Element of Crime (1984).

    • January 1, 1
    • 1.70 m
    • Copenhagen, Denmark
  6. en.wikipedia.org › wiki › Pink_PrisonPink Prison - Wikipedia

    Pink Prison is a 1999 erotic film for women, directed by Danish director Lisbeth Lynghøft, and produced by Puzzy Power, a division of Lars von Trier's film company Zentropa. As the follow-up to Constance (1998), it was the second hard-core pornographic film ever to have been produced by an established mainstream film production company.

  7. Trailers. English subtitle translations for Epidemic and Europa and English subtitles for the deaf and hard of hearing for all three films. PLUS: An essay by critic Howard Hampton. New cover by Fred Davis.