Exponerad (1971)
Lena, a young & cute Swedish Nymphet is torn between her wimp boyfriend Jan & sadistic player Helge who blackmails her to sleep with his friends in sex parties.
Lena, a young & cute Swedish girl has recurring fantasies of being slapped, groped & raped. She is torn between her wimp boyfriend Jan & sadistic player Helge who blackmails her into sleeping with his friends in his sex parties. Total Vintage Swedish Erotica Fun with Christina Lindberg, the Swedish Nymphet.
A Swedish teen drifts between a soft boy and a sadistic pornographer with blackmail negatives, and can’t tell her nightmares from her life.
Gustav Wiklund’s 1971 sexploitation curio hands us Lena (Christina Lindberg), a high-schooler stuck between her twerp of a boyfriend Jan and Helge, an older, depraved sociopath who has taken nude photos of her and uses them to blackmail her into servicing guests at his wild parties. Her parents are conveniently off on holiday, so the city is hers to get ruined in. When Jan learns what she’s been up to, his caveman side comes out and he slaps her; Lena bolts for the countryside, where the wall between reality and fantasy turns out to...
be paper-thin, and she crosses it repeatedly. Hitchhiking, she imagines herself raped, murdered, killed in a car crash — then returns home to face problems that may only exist in her head. Wiklund plays it straighter than the poster promises: contemporary critics called it gratuitously sexual and violent, though some now single out its non-linear timeline and relatively artistic presentation. Shot in Stockholm and out on the roads, it’s a museum of 1971 — turtlenecks, casual nudity, funky party music, a cinema marquee playing Les choses de la vie. It was pushed hard at Cannes that year, made Lindberg an international name, and her Japanese promo tour led to actual Japanese film offers.
Here’s the real reason you press play. Lindberg was 20 playing 17 and possessed the single most disarming face in European exploitation: doe eyes, a body the camera can’t stop apologising for, and a stillness that does more work than dialogue. One admirer nails it — her ability to emote detachment and melancholy feels painterly; she looks beyond human. Another describes her as luminous: seventeen in-film, bare-footed, bare-everything, floating through Stockholm between two men and several alternate realities. Explicitness-wise, it’s softcore Nordic: plenty of full-frontal, orgy-party sleaze, Hopf photographing her nude and, at one point, tying her to his bed and having his way with her — sex that’s grubby and sad rather than titillating. Fair warning from the peanut gallery: bizarre sexploitation with not much actual sex and a lot of fantasy, including a lifted chunk of a Tarzan movie. Watch it for Lindberg, the woozy dream-logic, and the moment you realise you’ve stopped ogling and started worrying about her.
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