The film employs "primitive" costuming—animal skins, heavy jewelry, and body paint—that pays homage to the 1950s jungle girl comics and films like She or One Million Years B.C. Legacy in the D’Amato Canon
The cast features many of the same performers from the first film. Selen reprises her role as the wild woman, now navigating the desert. She is joined by Zenza Raggi, Amanda Steele, John Walton, and Frank Gun. The plot, though sparsely documented, follows two wealthy businessmen who travel to Morocco and encounter all sorts of exotic delights, likely including the jungle queen herself. Joe D-Amato - Queen Of Elephants 2- Sahara -19...
By 1998, Joe D’Amato (born ) was entering the final year of his prolific career. Having directed hundreds of films across westerns, horror, and erotica, Massaccesi used his vast technical background as a cinematographer to ensure that even his hardcore adult films maintained a cinematic flair. She is joined by Zenza Raggi, Amanda Steele,
Exploring the Exotic Exploitation of Joe D'Amato: "Queen of Elephants Part 2 - Sahara" (1998) Having directed hundreds of films across westerns, horror,
While not ranked alongside his more famous works, Sahara (1998) is a snapshot of the final phase of D'Amato's career, which continued until his death in 1999. It showcases his ability to produce a feature-length film with a very small budget, leveraging a "foreign" setting to create a sense of adventure, however tame compared to his earlier, more intense exploitation films.
The keyword [Joe D'Amato - Queen Of Elephants 2- Sahara -19...] is more than a random string of text; it's a map to a specific moment in the career of a legendary Italian genre filmmaker. It leads directly to Joe D'Amato's final, prolific period, during which he churned out a series of adult films that attempted to combine exotic locations with hardcore action. The journey from a jungle girl in Africa to a desert adventure in Morocco, all starring the same iconic actress, perfectly illustrates D'Amato's formula: take a popular theme (Tarzan), add a recognizable star (Selen), change the setting, and create a new, loosely connected adventure for an undemanding audience. For fans of cult cinema, these films remain a strange and fascinating footnote in the career of one of Italy's most indefatigable directors.
D’Amato’s direction here is surprisingly competent in terms of lighting and framing. By 1995, he was a veteran, and he knew exactly how to shoot a scene to make it look glossy enough for the video store shelves. The pacing, however, is pure exploitation—alternating between tedious exposition and bursts of softcore erotica.