A Web of Lust, Lies, and Hidden Agendas

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MOVIE REVIEW
Eleven Days, Eleven Nights 2 (Undici giorni, undici notti 2) (UHD + Blu-ray)
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Genre: Drama, Erotic
Year Released: 1991, 88 Films 4K 2025
Runtime: 1h 32m
Director(s): Joe D’Amato
Writer(s): Rossella Drudi
Cast: Kristine Rose, Laura Gemser, Ruth Collins, Frederick Lewis
Where to Watch: available November 25, 2025, pre-order your copy here: www.88-films.myshopify.com, www.mvdshop.com, or www.amazon.com

RAVING REVIEW: ELEVEN DAYS, ELEVEN NIGHTS 2 exists in that unmistakable pocket of late-80s and early-90s erotic cinema where melodrama, sensuality, and mystery all collide in ways that are more about mood and movement than intricate storytelling. Joe D’Amato, who practically defined the aesthetic of Italian softcore through sheer volume and instinct, returns to the world of Sarah Asproon—this time with Kristine Rose taking over the role—and shapes a sequel that isn’t trying to reinvent the genre so much as embrace exactly what viewers come to this kind of film expecting. But beneath the surface-level seduction and soap-operatic plotting, a surprisingly cohesive structure emerges, making this entry more engaging than its reputation suggests.

The setup is classic erotic-thriller simplicity: Sarah travels to New Orleans to execute the will of her wealthy former lover. But this isn’t just a legal formality. She has eleven days to determine which member of the contentious Durrington family deserves to inherit the estate. It’s an inherently provocative premise—one woman judging character, integrity, and moral worth through a combination of observation, conversation, and entanglements. The film uses that foundation to explore how desire intersects with power and how seduction can become both a weapon and a weakness.

Rose’s performance is one of the most notable elements here, though not always for the reasons the film intends. She walks a tightrope between alluring and detached, sometimes leaning into an unreadable calm that suits Sarah’s manipulative edge, and sometimes drifting into flatness that holds the story back when it needs her to command the scene. The character of Sarah has always worked best when she feels fully in control—psychologically, sexually, and emotionally. Rose hits that dynamic in certain moments, especially when she exerts dominance as the one evaluating rather than being assessed. But other scenes drift, leaving the character's emotional influence underdeveloped. In an erotic thriller, that’s a noticeable gap.

Thankfully, the film finds its footing in its supporting cast. Laura Gemser, a star of D’Amato’s earlier era and someone whose screen presence is natural and captivating, delivers some of the most grounded and compelling moments in the entire film. Even when the writing leans, Gemser manages to bring nuance, reminding viewers why she became such an iconic figure in Euro-erotica. Ruth Collins, meanwhile, pulls her scenes into the heightened theatricality that defines so much of late-night softcore storytelling. Her performance occasionally borders on exaggerated, but it fits the tone the film builds around its more chaotic characters.

As Sarah moves between the heirs—each more flawed, suspicious, or morally compromised than the last—the film becomes a gallery of desires and dysfunctions. D’Amato thrives here, not because the scenes are explicit (they’re actually fairly tame by his earlier standards). Still, because he understands the core of these interactions: the way a glance can imply history, the way a confession can turn the chemistry in the room, the way sex becomes a kind of interrogation. These sequences aren’t framed as indulgent filler but as emotional leverage, revealing different pieces of this fractured family as Sarah navigates their secrets.

ELEVEN DAYS, ELEVEN NIGHTS 2 often plays like a steamy soap opera—one with a slightly pulpy sense of danger and a voyeuristic edge. D’Amato films certain scenes as if the viewer is peering into private rooms, personal failings, and vulnerabilities. It’s less threatening than suspense-driven erotica but more psychologically deep than simple softcore. This blend gives the film an unexpected charm, especially for viewers who appreciate the vintage, low-budget aesthetic of early-90s international erotica.

The 88 Films release adds considerable value by giving the film its strongest presentation to date. A new 4K remaster, Dolby Vision grading, archival interviews, commentary tracks, and extras contextualizing D’Amato’s career help elevate a film that might otherwise sit forgotten among dozens of similar titles. The inclusion of Gemser and the era's nostalgia only make this release more appealing to collectors of Italian erotic cinema.

ELEVEN DAYS, ELEVEN NIGHTS 2 doesn’t transcend its genre, but it leans into it. It’s sexy, messy, dramatic, and exactly the kind of indulgent experience its premise promises. For viewers who appreciate the particular alchemy of erotic mystery and soap-operatic tension, it offers a surprisingly enjoyable return to the world of Sarah Asproon—one filled with seduction, suspicion, and a reminder that desire and deceit often walk hand in hand.

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[photo courtesy of 88 FILMS, MVD ENTERTAINMENT]

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