Kattiera Nana I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

TeenzTen An action-packed slog

Hadrina The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Robert Joyner The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Claudio Carvalho The performer Lorna Green (Janine Reynaud) is a dominatrix in a S&M show in a nightclub and lover of the producer, William Francis Mulligan (Jack Taylor). Lorna attracts the attention of a stranger that believes she is the essence of evil and controls her mind. Lorna has sex with Mulligan and has a weird dream where she stabs a man with a needle in the eye. On the next morning, she is walking with Mulligan and sees a hearse on the road. When she glances at the corpse, she sees the man of her dream and cries. Soon Lorna has other daydreams followed by murders and she starts to blend reality with dreams. Soon she is confused with her nightmares and her memories from a past life when she was a countess. Meanwhile the stranger plots a scheme against Lorna with Mulligan."Necronomicon - Geträumte Sünden", a.k.a., "Succubus", is the first movie of Jess Franco outside Spain because of the censorship in his country. This movie is financed by Germany and produced in West Germany. Considered a cult movie for many viewers, I had a great expectation but I found it boring and with a messy screenplay. My vote is three.Title (Brazil): "Succubus"

Bezenby Whereas Felini is content to betray his films to almost coherent plot and the shameful act of playing his hand too early, Jess Franco smothers his visual media idiom with layers upon layers of fantasy and dream sequence. Not only does the main character, whom I refuse to give a name to, tip-toe through the film's haze in a daze of somnambulant wonder, but her steely stare and enigmatic dialogue can almost conjure up feelings of confusion. We are watching a film where the protagonist almost has no identity at all, so should we feel guilty for feeling that the film has no plot at all? I think Franco achieves his aim here, for Succubus is a barrage of buzzwords all done with smoke and mirrors. I was so impressed I almost kicked the television in through sheer jealousy.His artistic vision is such that his contempt for his audience is to be commended. Why else would he insert a party sequence where a dwarf and a transvestite dance, a girl asks for her doll back, and a man in a suit reads beat poetry? It was only logical that everyone started acting like dogs, for here Franco is showing us that we are all animals at heart. In a show of unison, I was foaming at the mouth at this sequence, like a rabid dog. In this magical scene, Franco relentlessly throws pretension in our faces until we are left with nothing but animalistic feelings of rage and hate.The scene with the dummies is also of note. Here, Franco is clearly, blatantly showing us that we, that is those who paid money for Succubus, are the real dummies. The performance art, where people are chained to posts, is also an obvious metaphor. Franco is the one holding the knife (representing this film), and we, the audience, are the ones tied to the posts, helpless, enduring the torture. Truly, this man cannot but stand head and shoulders above his contemporaries.I may be beneath such a visionary, because I don't quite understand the technique Franco employs to actually stretch time within a film. The back of the DVD said this film was about 72 minutes long, but somehow, probably because I was lost in such a fantasy world before me, this film seemed to last twice that length. Franco is so good at his art that even time cannot withstand his power.Succubus doesn't quite reach the heights of White Cannibal Queen (amazing parable of man's fight against technological progress – why else would the jungle be so obviously set in a park), or The Devil Hunter (words fail me with this one – the struggle of the African man against the white invader – If you don't get that by Al Cliver fighting a naked, circumcised man then you simply aren't watching), but I think here, by riddling the dialogue with pop culture references, Franco truly makes a film that is beyond criticism.I give this film a one. Franco has no need for ratings. His films are beyond ratings. And what's beyond the beyond? Nothing. Therefore: Jess Franco's films should get ratings of 0.

christopher-underwood Delirious, near plot-less mood piece and if it's more LSD inspired than the Devil then we must remember when it was made! After a startling SM opening (which even itself is not what it seems) we move to soft focus and dream or imaginings or remembering…. Lots of literary and cinematic references and indeed this is the Franco film that Lang himself praised. Beautiful and mesmerising the film unfolds at a leisurely pace but has a richness within each fold. A rare movie to languish within. Old Jess could make 'em when he tried. Fine central performances too including the indomitable Jack Taylor and Howard Vernon. I haven't even mentioned the Lisbon locations - ah!

manacoa-1 Franco proves, once again, that he is the prince of surreal & erotic cinema. True, much of his work can be viewed as entertaining sleaze but with Succubus (Necronomicon) he shows what he is truly capable of when he lets his warped creativity run riot and gives us a film that is both hypnotic and enigmatic whilst still maintaining the delirious eroticism intrinsic in his work. Jerry Van Rooyen's splendid score pulsates as the viewer is thrown from one bizarre scenario to another as we follow the trials of a striptease artist (Reynaud) who may be schizophrenic, or may indeed (as one mysterious character states) be a devil, attempt to come to terms with the world she inhabits. A beautiful and enigmatic piece of cinema highly recommended to anybody with even a passing interest in alternative cinema.