Isabel Crucified!

The Passion of Isabel continues with the nailing of Isabel to the Wheel of Pain. Isabel’s screams of pain bounce off the thick wall of the dungeon. Torquemada show’s no mercy as he places the nails on the palms of her hands and hammers them until the metal spikes break through flesh, bones and through the wood underneath.

When Torquemada is done hammering, he turns the wheel a few times to make sure the nails will hold her body on it. Isabel feels her body pulling on the nailed hands and feet at every turn of the wheel. The wheel turns, sometimes slow, sometime fast, bringing renewed pain every time. Isabel begs for the end to come. Her pleas go unheard.

In Part One of this review, I pointed out the difference between the three tortured women in Red Feline/Pachamama Productions I’ve reviewed. Bea’s performance in Isabel clearly delineates how differently she handles the erotic role of the tortured female from Amy Hesketh and Mila Joya. Bea is not horror-oriented as is Amy. Her pain is internalized so that crying out and screaming is not reflective of how she portrays pain. Likewise, she is not the submissive and docile character that appeals to Mila. Bea is defiant and in many ways totally feminist. The magic of a Jac Avila film library allows the viewer to choose and appreciate the different ways talented actresses approach their masochistic roles and the brutal situations they find themselves in. As for Bea in The Passion of Isabel, she yields in the end, but the viewer gets the feeling that her heart never really stops beating.
The Passion of Isabel: Part Two by Rich Moreland
https://3hattergrindhouse.com/2017/11/17/the-passion-of-isabel-part-two/

From the the post 1998 – 2018 – 20 Years of Red Feline! at the Red Feline Club:
http://redfeline.com/members/

New York in January 1998 was, as it always is in winter, very cold. Camille and JJ were living in a basement apartment in Long Island City. The days were short and nights were long. For a couple of weeks that winter, Jac rented a post production studio to work on the final touches for Red Feline on the Cross. The film he and Camille made the year before in La Paz. Back in the day, to edit a film you needed a post production studio with at least three recorders, two monitors and a mix board. Everything was done manually, recording from tape to tape. All the original material of Red Feline on the Cross was on many UMatic, 3/4 inch Sony video tapes. Each camera tape was 20 min long. The edited movie was in two tapes of 60 minutes each. The actual film was about 90 minutes long.

To save a good amount of money, Jac rented the studio at night, night rates were much lower. He took the hours from 7 pm to 4 am to work on the film. For almost a month, from December 97 to January 98 Camille and Jac lived like vampires, awake at night, sleeping all day. The dungeon like basement crypt they were living in was appropriate to their time. It had no windows, so there was no light coming in from the outside during the day. For those four weeks they didn’t see the light of day. Yes, vampires they were.
Read more of 1998 – 2018 – 20 Years of Red Feline! at the Red Feline Club
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