Femmine infernali

Great family entertainment! OK, maybe not.... But, man, what an excellent piece of sleaze. Great sex scenes (in the first sex scene you can see that the girl is actually performing REAL oral sex on the male guard),the stand-out being the sweaty lesbian scene in the jail cell... very steamy. The rape scenes are a little too rough and suprisingly realistic (one guard holds the lead actress while the other gropes and performs REAL oral sex her) but my guess is that the cast is probably of the hardcore background due to the scenes they perform in this film. It may not have the wit of Caged Heat or the originality of The Big Bird Cage but it sure does know the right parts to imitate. While this may not be the "watch with the girlfriend" type movie it's a great guilty pleasure... and one hell of a Sleazy/Trashy/Morally devoid piece of filth!!! GOD, I LOVE IT! 9/10.

A film so good they made it twice (they shot the equally lurid `Hotel Paradise' at the same time), and even released a scratch mix version called `Savage Island' with Linda Blair which wasn't so good. We all know by now that the plot involves a couple of dozen half naked women being terrorised by the brutal guards in a jungle prison camp. It also has a host of titillating titles which translate as `The Torture Camp of the Dear Witches', `The Dear Witches of the Rio Cannibale' `Escapees from the Love Camp' and `Infernal Women', although that was the original. In Britain it was called `Hell Prison' and back in 1980 when I saw it the cover was enough to get me interested, probably a bit too interested. I've seen it twice since and might even buy the DVD one day.

On the cast, everyone seems to know about the late Ajita Wilson, but have you noticed that Christina Lai (Vivien) appears in Moonraker for all of two seconds (credited there as Christina Hui)? So 1979 was a big year for her. All of which set me to thinking who she really was, and what was her real name. Well, she was Miss Italy 1978 (then known as Loren Cristina Mai). Further `research' reveals that Zaira Zoccheddu, who plays `Lucy' was a Miss World contestant in 1974, but she finished nowhere. Don't you just love the internet?

Also Anna Maria Panaro (aka Annamaria Pace) appeared in a couple of `Sword and Sandal' epics in the 60s and then seems to have disappeared until she turned up in an episode of Sex and the City. Here she plays `Marie Antoinette' who pretends to be mad and has an affair with a dog to keep the guards off her case, smart move.

Handsome Serafino Profumo (`Martinez') has a scary list of film credits, though I think the IMDB has missed at least one of those icky Italian Nazi-sex epics of the 70s. And Brazilian born Anthony Steffen did a lot of spaghetti westerns before landing his greatest role here as the alcoholic doctor.

Wow, there's certainly more to this skin-fest than meets the eye. I'm going to write a thesis on this movie. Or maybe start a fan club which is long overdue. Help me out and I guarantee a million hits.

Whoever has the rights should be informed that some of us are crying out for the director's cut. Or maybe we could arrange a 25th anniversary reunion somewhere in Italy.

Anthony Steffen trades in his Western poncho for a whiskey bottle in this sleazy Italian W.I.P. film. He plays a drunk Doctor in a jungle prison for women only. This leads to all sorts of depravity by the male guards. Everything is as you would expect, with rape, torture, lesbian groping, and of course that old standby implied bestiality. The movie is grainy, dark, and the acting marginal high school caliber. You have to ask yourself this question, why would anyone want to sit through this train wreck of a film? The dubbing alone is so atrocious that lips are moving before and after the over dub, but none of that matters because the intended audience will be totally fixated on the grimy writhing screen images. One other thing, I just hope no snakes or leeches were harmed during filming? - MERK

Naked helpless babes trapped on an island where they are brutalized and used by the powers that be. What more could an exploitation fan ask for? It's just a notch above your average babes in prison movie since the characters are believable in their desire to get out. Also, When the setting says tropical island they are not kidding. The island our beauties are stranded on looks about as tropical and steamy as you can get. Not for the squeamish!

Femmine infernali is a lurid slice of jungle-set exploitation cinema that leans heavily into the atmosphere of confinement, tension, and heat. On the surface, it delivers exactly what it promises: a women-in-prison fantasy wrapped in tribal danger and raw survivalism. But beyond the genre's standard provocations, there's a surprisingly effective moodiness to the visuals. The cinematography, while clearly hampered by budget, captures the oppressive humidity and isolation of the jungle setting with grit and purpose. Sunlight filters through overgrowth, smoke wafts in slow curls, and the camera often lingers just long enough on bruises, sweat, and fear to create an unsettling tone. It's never beautiful, but it is effective.

Where the film falters is in its pacing and uneven tone. Moments meant to titillate often undercut the seriousness of violence or trauma, leaving some scenes feeling exploitative in the most literal sense. Mulargia seems unsure whether he wants to shock, thrill, or critique, and that indecision creates tonal whiplash. The dialogue, particularly in dubbed versions, ranges from serviceable to unintentionally hilarious, which may entertain cult fans but diminishes any genuine emotional impact.

Performance-wise, Cristina Lay manages to ground her role with more nuance than the film often deserves. Her restrained expressiveness and steady presence add a thin but welcome layer of realism to a story that often veers into caricature. Cintia Lodetti leans more into the genre's flamboyance, delivering an exaggerated but undeniably magnetic performance that plays well within the film's exploitative framework. Most of the supporting cast serve more as visual props than fully realized characters, but that's par for the course in films of this stripe.

In the end, Femmine infernali is neither a total misfire nor a forgotten gem. It's a pulp concoction with moments of surprisingly competent craft. For fans of grindhouse-era sexploitation, it scratches a specific itch, but casual viewers will likely be more puzzled than engaged.