These are four stills from Jesse Franco's latter "klassik" titled "Snakewoman". It was released in 2005 and stars one and only Christie Levin, who was something of a muse for Mr. Franco at that time.
The stills depict her character at her most perplexed state. It is a turning point for her character. She goes through a lot during that short episode. Her character goes from being dumbfoundead and experiencing utter embafflement in the first still to slight perplexion and solemn thoughtfullness in the second still. The shift is drastic, it is an u-turn. It goes like a "wham". Then Christie takes a deep dive into pleasant musing and also some memories and gets really sentimental for a moment in the third still. And finally, in still number four, she settles down on a vicious dreamy scheming of things to come calculating the possibilities and assessing the opportunities.
It is incredible journey told solely through expressions on the actress' face. The way they morph into one another is astounding. It tells an incredible story of its own - the one about getting knocked off feet by a nondescript foggy notion, going through the things of past, deciding to shrug them off and then gracefully moving on to the unknown of the tomorrow. All in span of just a few seconds. How Christie Levin had managed to pull this off in such masterful manner? It is a mystery. Mostly because it is nothing more than an extreme bout of severe overthinking.
In reality, these are just four random stills from a movie titled "Snakewoman". Which has absolutely nothing to do with the arcane craft of acting. And that is absolutely OK.
The thing is - "Snakewoman" is what you expect from a film titled "Snakewoman" directed by a man with an ouevre ranging from "Vampyros Lesbos", to reconstruction of Orson Welles unfinished "Don Quixote" - it is uneven in a wild rollercoaster ride manner. In one episode it is going for something mystic and atmospheric. And then, all of a sudden, it is bizarre exploitation of predator woman tropes, and then we get a little bit of latino melodrama, and then comes a moment of horror that is actually funny and then comes a moment of horror from a realization that you are actually watching this demented piece of ferocious atrocity instead doing literally anything else.
In other words, it is a film that brings you a full spectrum of thrills. Overthinking is one of them. These four stills are perfect fodder for such manipulations. Due to actual context of the stills being extremely lacking, it is fun to come up with various explanations for the nature of the content presented in these stills. Which is more than one can ask from such kind of stuff.
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