Rent Thriller: A Cruel Picture (1973)
- General info
- Available formats
- Synopsis:
- Violent rape-and-revenge actioner, banned in it's native Sweden, stars Christina Lindberg as Madeline, a young woman, mute since a childhood assault, who is lured into drugs and prostitution and even loses an eye to a vicious pimp. The deaths of her parents send Madeline over the edge, as she learns karate and firearms to exact a brutal vengeance.
- Actors:
- Christina Lindberg, Heinz Hopf, Despina Tomazani, Per-Axel Arosenius, Solveig Andersson, Björn Kristiansson, Marie-Louise Mannervall, Hildur Lindberg, Stig Lokrantz, Olle Nordlander, Marshall McDough, Gunnar Palm, Pamela Pethö-Galantai, Lennart Robertsson, Hans-Eric Stenborg, Stig Ström, Lars Sääv, Bruno Sörwing, Gunnel Wadner, Per Hessman
- Directors:
- Bo Arne Vibenius (as Alex Fridolinski)
- Producers:
- Bo Arne Vibenius (as Alex Fridolinski)
- Writers:
- Bo Arne Vibenius (as Alex Fridolinski)
- Aka:
- They Call Her One Eye / Thriller - En grym film
- Genres:
- Action & Adventure, Drama, Horror, Thrillers
- Countries:
- Sweden
- BBFC:
- Release Date:
- 01/12/2025
- Run Time:
- 108 minutes
- Languages:
- English LPCM Mono, Swedish LPCM Mono
- Subtitles:
- English, French, German, Italian, Spanish
- Formats:
- Pal
- Aspect Ratio:
- Widescreen 1.66:1
- Colour:
- Colour
- BLU-RAY Regions:
- (0) All
- BBFC:
- Release Date:
- 01/12/2025
- Run Time:
- 108 minutes
- Languages:
- English LPCM Mono, Swedish LPCM Mono
- Subtitles:
- English, French, German, Italian, Spanish
- DVD Regions:
- Region 0 (All)
- Formats:
- Pal
- Aspect Ratio:
- Widescreen 1.66:1
- Colour:
- Colour
- BLU-RAY Regions:
- (0) All
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Reviews (1) of Thriller: A Cruel Picture
Cruelty Without a Point - Thriller: A Cruel Picture review by griggs
Some films are ugly with a point. This one just feels ugly, then pats itself on the back for being “tough”. I kept looking for a perspective beyond the cruelty — something that would turn the grime into meaning. It never arrives.
Thriller: A Cruel Picture wants to be exploitation-as-outrage, but it plays like exploitation-as-default. Making the protagonist mute doesn’t add depth; it mainly removes agency, so scenes land as endurance tests rather than drama. And the runtime doesn’t help: the film repeats its humiliations until the revenge plot feels less like escalation and more like a clock you’re waiting to run down.
The finale aims for catharsis, and I can see why some viewers cheer it. I didn’t. I felt relief — the cleanest compliment I can offer is that it ended.