Glissements progressifs du plaisir (1974) のシーン

別名: Anicee Alvina, Anicée Schahmaneche, Anicée Schahmaneche, Anicee Alvina, Anicée Schahmaneche, Anicée Shahmanesh

身体的特徴: N/A

初登場:

• She Does Not Drink, Smoke or Flirt But... She Talks (1970) として Pregnant teenager on tv

最も重要な役:

• Shéhérazade (1971) として Dinharzade
• Friends (1971) として Michelle Latour
• Paul and Michelle (1974) として Michelle Latour
• La Barricade du Point-du-Jour (1978) として Elise
• Lost Soul (1977) として Lucia
• Playing with Fire (1975) として Carolina de Saxe
• One, Two, Two: 122, rue de Provence (1978) として Judith
• L'Affiche rouge (1976) として l'amie de Rayman
• Successive Slidings of Pleasure (1974) として Alice/The Prisoner
• Les grands sentiments font les bons gueuletons (1973) として Anne-Marie Reverson

キャリアハイライト:

• Shéhérazade (1971)
• Friends (1971)
• Paul and Michelle (1974)
• La Barricade du Point-du-Jour (1978)
• Lost Soul (1977)
• Playing with Fire (1975)
• One, Two, Two: 122, rue de Provence (1978)
• L'Affiche rouge (1976)
• Successive Slidings of Pleasure (1974)
• Les grands sentiments font les bons gueuletons (1973)

"European women, with their alluring accents and captivating eyes, have a notable effect on the Skin Central crew, arousing them significantly. Anicée Alvina is a prime example of this appeal within French cinema. While dialogue, cinematography, and editing techniques might be applauded in other films, it's the skin factor that truly sets French cinema apart, much like Lewis and Clark's exploration of untamed territories. Anicée embodies this adventurous spirit, having begun her career as a pregnant teenager on TV in 'Elle boit pas, elle fume pas, elle drague pas, mais... elle cause!' (1970), translated as 'She Does Not Drink, Smoke or Flirt But... She Talks!'.

Her first nude scenes were featured in the British production 'Friends' (1971), where she showcased her youthful figure. However, it's her roles in 'Glissements progressifs du plaisir' (1973) and 'Le Jeu avec le feu' (1975) that truly highlight Anicée's daring career choices. In both films, she bares all, with particularly notable scenes including a sudsy bath scene revealing her intimate trinity, followed by an intimate encounter in bed with another character. Just two years later, she went full frontal again in 'Anima Persa' (1977), leaving little to the imagination as she posed nude for an art class."
このテキストは英語でのみ利用可能です。