What is it about human nature that makes men want to climb the highest mountains, explore unknown regions in search of a rumored paradise or challenge their perceptions of the world in the name of self-discovery? It is this eternal quest that drives the narrative of La Vallée (English title: The Valley, 1972), Barbet Schroeder’s second feature film after More (1969), a drug addiction drama that explores a similar theme of people who go too far in seeking ultimate experiences and sensations. Both films were made at a time when the youth culture of the late sixties was becoming more pessimistic and cynical about the hippie lifestyle. While More is a deep dive into hedonism that has the structure of a traditional drama, The Valley is a stranger affair. It combines ethnographic documentary elements with a loose storyline about a small group of hipster explorers who are intent on discovering an unexplored area on a map of Papua, New Guinea that is marked as a valley obscured by clouds.Continue reading
Anyone who is a fan of Italian giallos, European art house fare and off the grid cult films is familiar with actress Mimsy Farmer. She left Hollywood in the late sixties after her “youth exploitation” days with American International Pictures in such films as Hot Rods to Hell and Riot on Sunset Strip. Relocating to Europe, she pursued film roles there for the remainder of her career. As an actress she was rarely drawn to mainstream commercial projects and a sampling of her eclectic filmography includes such diverse titles as Barbet Schroeder’s drug addiction opus, More (1969), George Lautner’s erotic melodrama Road to Salina (1970), Dario Argento’s 1972 murder mystery Four Flies on Grey Velvet, The Taviani Brothers’ critically acclaimed Allonsanfan (1974) and Serge Leroy’s survivalist thriller, La Traque (1975). But one of her most obscure and unusual roles is Fabio Carpi’s Corpo d’amore (aka Body of Love, 1972).