By the late 1990s, Joe D’Amato had transitioned from his famous horror and "Emanuelle" cult classics to high-volume adult features. Sahara is typical of his "exotic" period, where he utilized international locations to give adult films a more cinematic, big-budget feel compared to standard studio productions of the era. Sahara (Video 1998)
(1998) actually has no plot connection to the first film and features no elephants. While marketed as a sequel, it is a standalone adult film with the following premise: Plot Summary Two wealthy businessmen travel to
Joe D’Amato (Aristide Massaccesi) Subgenre: Erotic Adventure / Softcore Safari Joe D-Amato - Queen Of Elephants 2- Sahara -19...
Directed and photographed by D'Amato himself, the film features a "who's who" of 90s adult and erotic cinema stars: Dina Pearl
Despite the sequel branding on some home video releases, the film is not a direct narrative follow-up to the 1997 film La regina degli elefanti ( Queen of Elephants ). While both films share several cast members and an African-inspired setting, they feature different characters and storylines. Film Overview By the late 1990s, Joe D’Amato had transitioned
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Filmed under the visual warmth of North Africa, the movie utilizes the sweeping dunes of the desert to inject production value into what is essentially a small-budget, direct-to-video feature. While marketed as a sequel, it is a
Critics and reviewers noted that the film, while erotic, aimed to recreate the innocent adventures of jungle films, only to contrast them with "incongruous explicit sex".
The plot tracks who travel to Morocco with the intent of purchasing a local leather company. Upon their arrival, they navigate corporate negotiations alongside a sequence of indulgent, exotic delights arranged by their local hosts. Rather than focusing on a clash of civilizations or feral adaptation, Sahara leans heavily into themes of high-class tourism, luxury, trade, and cross-cultural sensory indulgence. Production Values and Cast Composition
To watch Joe D'Amato's Queen of Elephants 2: Sahara today is to glimpse a cinematic world that has vanished – a micro-genre where European directors could film mostly naked women in pseudo-Arabic palaces without irony or apology. It’s not great art, but it is pure D'Amato: resourceful, titillating, and strangely sincere in its pursuit of fantasy. For completists of Italian exploitation, tracking down this sandy relic is a rite of passage. For casual viewers, imagine a fever dream where I Dream of Jeannie meets Caligula – and you're halfway there.