[go: up one dir, main page]

    Calendario de lanzamientosLas 250 mejores películasPelículas más popularesExplorar películas por géneroTaquilla superiorHorarios y ticketsNoticias sobre películasNoticias destacadas sobre películas de la India
    Qué hay en la TV y en streamingLas 250 mejores seriesProgramas de televisión más popularesExplorar series por géneroNoticias de TV
    ¿Qué verÚltimos tráileresOriginales de IMDbSelecciones de IMDbDestacado de IMDbGuía de entretenimiento familiarPodcasts de IMDb
    EmmysSuperheroes GuideSan Diego Comic-ConSummer Watch GuideBest Of 2025 So FarDisability Pride MonthPremios STARmeterCentral de premiosCentral de festivalesTodos los eventos
    Personas nacidas hoyCelebridades más popularesNoticias de famosos
    Centro de ayudaZona de colaboradoresEncuestas
Para profesionales de la industria
  • Idioma
  • Totalmente compatible
  • English (United States)
    Parcialmente compatible
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Lista de seguimiento
Iniciar sesión
  • Totalmente compatible
  • English (United States)
    Parcialmente compatible
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Usar la aplicación
  • Reparto y equipo
  • Reseñas de usuarios
  • Curiosidades
  • Preguntas frecuentes
IMDbPro

8 mujeres y ½

Título original: 8 ½ Women
  • 1999
  • 18
  • 1h 58min
PUNTUACIÓN EN IMDb
5,6/10
4,3 mil
TU PUNTUACIÓN
8 mujeres y ½ (1999)
ComediaComedia negraDrama

Tras la muerte de su esposa y madre, un hombre y su hijo fundan un burdel en la casa familiar en Génova tras ver "8 y medio" de Fellini.Tras la muerte de su esposa y madre, un hombre y su hijo fundan un burdel en la casa familiar en Génova tras ver "8 y medio" de Fellini.Tras la muerte de su esposa y madre, un hombre y su hijo fundan un burdel en la casa familiar en Génova tras ver "8 y medio" de Fellini.

  • Dirección
    • Peter Greenaway
  • Guión
    • Peter Greenaway
  • Reparto principal
    • John Standing
    • Matthew Delamere
    • Vivian Wu
  • Ver la información de la producción en IMDbPro
  • PUNTUACIÓN EN IMDb
    5,6/10
    4,3 mil
    TU PUNTUACIÓN
    • Dirección
      • Peter Greenaway
    • Guión
      • Peter Greenaway
    • Reparto principal
      • John Standing
      • Matthew Delamere
      • Vivian Wu
    • 44Reseñas de usuarios
    • 31Reseñas de críticos
    • 36Metapuntuación
  • Ver la información de la producción en IMDbPro
  • Ver la información de la producción en IMDbPro
    • Premios
      • 2 nominaciones en total

    Imágenes37

    Ver cartel
    Ver cartel
    Ver cartel
    Ver cartel
    Ver cartel
    Ver cartel
    Ver cartel
    Ver cartel
    + 29
    Ver cartel

    Reparto principal50

    Editar
    John Standing
    John Standing
    • Philip Emmenthal
    Matthew Delamere
    Matthew Delamere
    • Storey Emmenthal
    Vivian Wu
    Vivian Wu
    • Kito
    Toni Collette
    Toni Collette
    • Griselda…
    Annie Shizuka Inoh
    Annie Shizuka Inoh
    • Simato
    • (as Shizuka Inoh)
    Barbara Sarafian
    Barbara Sarafian
    • Clothilde
    Kirina Mano
    • Mio
    Amanda Plummer
    Amanda Plummer
    • Beryl
    Natacha Amal
    • Giaconda the Baby Factory
    Manna Fujiwara
    • Giulietta…
    Polly Walker
    Polly Walker
    • Palmira
    Elizabeth Berrington
    Elizabeth Berrington
    • Celeste, Emmenthal Maid
    Myriam Muller
    • Marianne, Emmenthal Maid
    Don Warrington
    Don Warrington
    • Simon
    Claire Johnston
    Claire Johnston
    • Amelia, Philip's Wife
    Pol Hoffmann
    • Mourner
    • (as Paul Hoffmann)
    Tony Kaye
    • Mourner
    Ann Overstall Comfort
    • Mourner
    • (as Ann Overstall)
    • Dirección
      • Peter Greenaway
    • Guión
      • Peter Greenaway
    • Todo el reparto y equipo
    • Producción, taquilla y más en IMDbPro

    Reseñas de usuarios44

    5,64.2K
    1
    2
    3
    4
    5
    6
    7
    8
    9
    10

    Reseñas destacadas

    9srepka

    Greenaway Laughs!

    Actually, Greenaway has nearly always been laughing. It's just that many people fail to notice that. "8 1/2 Women", however, is different in that even the people who hate it (of which there will be plenty; it's Greenaway) will have no doubts that it is a comedy, and Greenaway's lightest-toned film yet.

    It is a playful tribute to Fellini and Godard, and it features - prominently - understanding, affection and warmth, none of which are emotions one would have easily associated with Greenaway's previous work. (In an after-screening interview, he commented that age makes one want to look more at the better side of things.) Because this is still very much a Peter Greenaway film, the ways in which emotions such as filial love are going to be explored are going to be very quirky indeed; but to interpret the film's "taboo" scene as intended to shock is a disservice to the film, the director's intentions (and his ability to *truly* shock when he wants to - check "The Baby of Macon") and your own enjoyment.

    "8 1/2 Women" is full of odd little moments (and one SPECTACULARLY odd image which I won't spoil much, except to mention that it involves a pig, a Japanese Noh performer and a stunning Swiss villa) and offbeat humour; and it is about male bonding and male delusions about women. I can see how many people have taken the facile route of viewing it as misogynistic; these people have obviously not seen the same film as I have, which is all about control from behind the scenes, strategy, and the presentation of male supremacy for what it is - a fallacy.

    "8 1/2 Women" was badly received at Cannes, got a tremendous backlash against it and died a death commercially. All of which is very unfair. If you like eccentric humour, give this film a chance. It's a little Wonderland of sorts and, in its own peculiar way, far more heartwarming than the average plastic Hollywood tear-jerker.
    7akramer

    A clever film, with understandable characters in a very surreal situation

    Frederico Fellini's "8 1/2" is a movie this one is theoretically inspired by. There are consistent references to it in this film, some subtle, and some glaringly obvious. One should take this into account so that it will not hamper one's voluntary suspension of disbelief, though this movie definitely stands on its own if the viewer has never seen "8 1/2".

    Voluntary is, perhaps, an inappropriate word. This movie takes disbelief, which should certainly be present, and suspends it for you, in a most amusing way. The film may well attempt to say something deep about human nature, and the interaction between a fickle heart which has lots of love to give and a bored brain with so many thoughts - but it doesn't say it so loud that you can't just sit back and enjoy the picture. Some scenes are funny to all; some scenes may cause you to be the only hysterical person in the theater. In any case, it's well worth the ticket or rental cost. Some male nudity is present, though no more than the average British movie containing male nudity. No sex scenes are overly graphic, though one should definitely have an open mind going into the movie in order to enjoy it. If you didn't feel a significant need to leave the theater during "Gouttes d'eau sur pierres brûlantes," which I was last week, you should be able to thoroughly enjoy this film.

    (Lighting designers watch for the Kabuki scene; it won awards in Europe and definitely looks very cool.)
    8ultraluv

    Not bad at all.

    I went in expecting the worst and left completely turned around. 8 1/2 Women doesn't hold a candle to The Pillow Book, The Cook the Thief..., or his earlier Drowning By Numbers, but I had fun! It was almost like Peter Greenaway does Woody Allen (wanna talk about film makers who purge their sexual fantasies on screen!) With the exception of a couple of scenes, the visual style of this film is stark and simple (much like Drowning...) and relied heavily on smart dialogue, which at times got a bit over the top, intellectually speaking, but kept the film going. I never got bored with it, I never got too disgusted, and even if I can't recommend it to most of the people I know, I still feel it's a strong feature.

    Now, even though this is Greenaway Lite, it still isn't for people who didn't like any of his earlier films. But even if you only liked The Cook The Thief, you should give this one a chance. Forget that you have hang ups about sex and sit back and watch the perversion unfold! Pure, sick fun!
    7Krustallos

    Better than its Reputation

    Despite being hissed at Cannes this film is still well worth seeing. I purchased the DVD and the more I watch it the better I like it. For a start, as with all Greenaway's work since The Falls, the photography is ravishing. I don't think anyone makes films which look better.

    What few have picked up on is that (as well as an attempt to pick up Fellini's 8 1/2-ball and run with it), this is almost a remake of "A Zed and Two Noughts". Both films study bizarre responses to bereavement. both films play on doubling, in this case a father and son rather than two brothers. Both films touch on bestiality (with animals called Hortense!), gynecology, sex with amputees, a menagerie (in this case of women rather than animals), prostitution, uses of light, storytelling, and the colours black and white.

    Where that film referenced painting, this references performance in many guises - cinema, kabuki, cross-dressing, opera, television, prostitution, as well as painting.

    Contrary to at least one other user comment, there is no sexual intercourse shown in the film, although there is a quantity of nudity. It's very odd, if perhaps unsurprising, that this film has been sold as a sexy movie. SexIST? Well, confusing an ironic depiction of men's sexual fantasies with a reduction of women to the level of fantasy is 'politically correct' laziness at best. And as with most of Greenaway's films, the women are the winners in the end.

    One reason this is harder work than the earlier film is the lack of Michael Nyman's ravishing music. I'm not sure why Greenaway stopped working with Nyman; possibly he felt he was stuck in a rut - perhaps he was nettled by charges that any old footage looked like Greenaway if you played Nyman's music behind it. Either way, he's yet to arrive at a truly satisfactory alternative. Here we have "Slow Boat to China" sung a capella by the two leads, rather after the manner of Morecambe and Wise. It's quite funny, but it's not the marriage of sound and image of earlier films.

    The extent to which Philip Emmenthal represents Greenaway himself is perhaps worth considering. A character makes reference to Fellini having Mastroianni make love to all the women Fellini couldn't, and asks whether all directors make films to fulfil their own sexual fantasies. Emmenthal is notably the same age as Greenaway.

    He may not be sweeping the art-house scene before him these days (in fact there's not much of an art-house scene left these days), but in the end, even below-par Greenaway is better than 99% of directors can even aspire to.
    tedg

    Women: Types and Missteps

    A master visual allegorist reaches farther and fails. But not for the reasons others claim here. Greenaway has never centered his films in the narrative -- we'd always be frustrated to look for satisfaction there. (`Drowning' which among his works most delivers a story does so incidentally.) And this is a film about women, not sex, which will frustrate others.

    Here is his most character-driven film. At last, he works on closeups and some character definition. The primary ordering of the film is by basic archetypes of women, particularly archetypes drawn by men. This is supposed to be his most painterly film: the representative women are to be presented in scenes that reference famous paintings. Greenaway has stated that painting cuts to the basic drivers in cultural revolution, and the representations of women therein are tokens for everything conceived. Women thus are both humans and basic tokens in the redefinition of life.

    Such a rich conception is thoroughly Greenawayan and might have formed the skeleton for another masterpiece. Along the way, we have by now familiar devices. Numbers: random as in pachinko rather than ordered. Contrasts between Eastern (here just Japanese) and Western management of concept and image. Some slight use of layered images, here in the self-reference of displaying the screenplay.

    My complaints are two. I consider them fatal, but still celebrate Greenaway.

    The notion of archetype depends on clarity, a natural orthogonality and completeness of classes. Here we have the nun, whore, Chinadoll, servant, cripple, childbearer, fetishist, butch, and spontaneous addict. Time is invested in defining these. A few are singled out to be something more than props for lush compositions: the geisha chinadoll, the lesbian accountant, the gambler and the opportunistic, openly enthusiastic whore. But in bringing them to life, they escape their categories: two of these are male impersonators, another two financial manipulators, another two vamps. Three are Japanese. Usually, Greenaway's combination of painting (erudite structure and framing of scenes) and film (narrative, development) reinforce one another. Here, they dissonate.

    The second problem may be more fundamental. You really have to know your stuff to enjoy these films. My knowledge of The Tempest is rather deep, so I saw how rich was `Prospero's Books.' I read up on restoration comedy for `Draughtsman,' and discovered art in the viewing that I presume no one else in the theater saw. This film is supposed to reference the feminine archetype not as defined by popular culture, but by the history of painting. My knowledge of the art is poor, so I cannot attest to how deep the annotations are here. (Little use is made here of the layered image and narrative comment. Wonder why, since it would have been so natural.

    But I do know Gauguin, who also was a visual allegorist, who also worked with feminine archetypes and also the fascination with Asian differences. His monumental canvas `Where are We Going?' does just what this film purports.

    I wonder if there is little there in this film.

    Más del estilo

    The Pillow Book
    6,5
    The Pillow Book
    El niño de Mâcon
    6,9
    El niño de Mâcon
    Conspiración de mujeres
    7,1
    Conspiración de mujeres
    El vientre de un arquitecto
    6,9
    El vientre de un arquitecto
    Zoo
    7,2
    Zoo
    Los libros de Próspero
    6,8
    Los libros de Próspero
    La ronda de noche
    6,5
    La ronda de noche
    El contrato del dibujante
    7,2
    El contrato del dibujante
    Rembrandt's J'Accuse...!
    7,2
    Rembrandt's J'Accuse...!
    Eisenstein en Guanajuato
    6,3
    Eisenstein en Guanajuato
    El cocinero, el ladrón, su mujer y su amante
    7,5
    El cocinero, el ladrón, su mujer y su amante
    Las maletas de Tulse Luper: La historia de Moab
    6,7
    Las maletas de Tulse Luper: La historia de Moab

    Argumento

    Editar

    ¿Sabías que...?

    Editar
    • Curiosidades
      Toni Collette said Peter Greenaway chose her by accident for the role of Griselda. "I went in for another part and I had just had my head shaved and I had a Buddha hanging around my neck. Afterwards I thought, 'This is going to teach me to go to an audition looking like that'. " In fact Greenaway chose her for playing a woman who is blackmailed into serving on a brothel and posing as a lascivious nun. In the role, she was required not merely to appear nude but with a shaven pubis. "Peter Greenaway's odd, but very interesting. And he let me try everything I suggested," added Collette.
    • Citas

      Philip Emmenthal: How many directors do you think use films to fulfill their sexual fantasies?

      Storey Emmenthal: Most of them, I think.

    • Conexiones
      Features Fellini 8½ (1963)
    • Banda sonora
      Sosaku Yoshiwara
      (Kabuki music)

      Written by Hirokazu Sugiura

    Selecciones populares

    Inicia sesión para calificar y añadir a tu lista para recibir recomendaciones personalizadas
    Iniciar sesión

    Preguntas frecuentes

    • How long is 8 ½ Women?
      Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 19 de febrero de 2008 (España)
    • Países de origen
      • Reino Unido
      • Países Bajos
      • Luxemburgo
      • Alemania
    • Idiomas
      • Inglés
      • Italiano
      • Japonés
      • Latín
    • Títulos en diferentes países
      • Ocho mujeres y media
    • Localizaciones del rodaje
      • Luxemburgo
    • Empresas productoras
      • Woodline Productions
      • Movie Masters
      • Delux Productions
    • Ver más compañías en los créditos en IMDbPro

    Taquilla

    Editar
    • Recaudación en Estados Unidos y Canadá
      • 424.123 US$
    • Fin de semana de estreno en EE. UU. y Canadá
      • 92.000 US$
      • 29 may 2000
    • Recaudación en todo el mundo
      • 437.568 US$
    Ver información detallada de taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Duración
      1 hora 58 minutos
    • Color
      • Color
    • Mezcla de sonido
      • Dolby
    • Relación de aspecto
      • 1.66 : 1

    Contribuir a esta página

    Sugerir un cambio o añadir el contenido que falta
    8 mujeres y ½ (1999)
    Principal laguna de datos
    By what name was 8 mujeres y ½ (1999) officially released in India in English?
    Responde
    • Más datos por cubrir
    • Más información acerca de cómo contribuir
    Editar página

    Más por descubrir

    Visto recientemente

    Habilita las cookies del navegador para usar esta función. Más información.
    Obtener la aplicación IMDb
    Inicia sesión para tener más accesoInicia sesión para tener más acceso
    Sigue a IMDb en las redes sociales
    Obtener la aplicación IMDb
    Para Android e iOS
    Obtener la aplicación IMDb
    • Ayuda
    • Índice del sitio
    • IMDbPro
    • Box Office Mojo
    • Licencia de datos de IMDb
    • Sala de prensa
    • Anuncios
    • Empleos
    • Condiciones de uso
    • Política de privacidad
    • Your Ads Privacy Choices
    IMDb, una empresa de Amazon

    © 1990-2025 by IMDb.com, Inc.