Un apasionado relato de la historia de Sada Abe, una mujer cuyo romance con su patrón conduce a obsesión sexual con un final violento.Un apasionado relato de la historia de Sada Abe, una mujer cuyo romance con su patrón conduce a obsesión sexual con un final violento.Un apasionado relato de la historia de Sada Abe, una mujer cuyo romance con su patrón conduce a obsesión sexual con un final violento.
- Dirección
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- Premios
- 4 premios ganados en total
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Opiniones destacadas
I saw this film the first time in the movies in holland about 78; I was sitting next to a nice girl wiht her boyfriend and felt terribly upset. I knew this was very real. Not romantic at all. It shows what sex can do to people and although in the ending the dramatics are overdone to my taste; this is a classical tragedy. The acting is incredible; i think the one big problem making movies showing real sex that the actors can't cope with it. These actors could. Everybody who can't see through the pornografic explicities is sexually unfree and morally limited. This film isn't a happy one and doesn't show us the freedom that sex can bring us; it shows the slavery which sex can bring about; it's problably the best film ever about sex addiction there is. It's a problem that is hardly publicly debated; or if in the hands of Christian crusaders, who want to take us all the fun. In other critics you read about th Art question : "is this Art?" Not an important question, but for me it is; it has learnt me very much about the human condition and how we cope with it.
'Empire Of The Senses' is one of the least seen and much debated movies of the Seventies. "Least seen" because in many countries, including the one I live in, it has been banned, or only available in censored versions for many years. This movie divides people - those that like it hail it as ART, those that don't dimiss it snobbishly as PORN. Both camps are fooling themselves! 'Empire Of The Senseless' is BOTH.
Is it "serious"? Yes. Is it voyeuristic and prurient? Yes. Is it a masterpiece? Not quite. Is it worth watching? Very much so. In fact I'd say it was essential viewing for anyone interested in extreme or taboo-breaking movies.
The Seventies were the decade where the boundaries of screen sex, violence and disturbing imagery were repeatedly stretched. Peckinpah's 'Straw Dogs' and 'Bring Me The Head Of Alfredo Garcia', Bertolucci's 'Last Tango In Paris', Scorsese's 'Taxi Driver', Kubrick's 'A Clockwork Orange',were all milestones, and the the art movies of Herzog, Warhol, Pasolini, and Jodorowsky battled it out with the horror and exploitation of Russ Meyer, Dario Argento, John Waters,and David Cronenberg. Add to that the unexpected crossover success of 'Deep Throat' and the very existence of shockers like 'Ilse, She Wolf Of The SS' and 'Cannibal Holocaust', and what do you get? The artificial and meaningless divisions of genres, "high art" vs "trash", new ways of thinking vs new ways of making money, it was all on the table. For one brief decade it looked like a brave new world.
Then everything that was gained was lost - Spielberg and Simpson/Bruckheimer cleaned up (financially and aesthetically), and things have never been the same since. Watch 'Empire Of The Senseless' with that in mind. It may be flawed - you'll be alternatively fascinated and bored - but it is an important movie from an important period in movie history.
Is it "serious"? Yes. Is it voyeuristic and prurient? Yes. Is it a masterpiece? Not quite. Is it worth watching? Very much so. In fact I'd say it was essential viewing for anyone interested in extreme or taboo-breaking movies.
The Seventies were the decade where the boundaries of screen sex, violence and disturbing imagery were repeatedly stretched. Peckinpah's 'Straw Dogs' and 'Bring Me The Head Of Alfredo Garcia', Bertolucci's 'Last Tango In Paris', Scorsese's 'Taxi Driver', Kubrick's 'A Clockwork Orange',were all milestones, and the the art movies of Herzog, Warhol, Pasolini, and Jodorowsky battled it out with the horror and exploitation of Russ Meyer, Dario Argento, John Waters,and David Cronenberg. Add to that the unexpected crossover success of 'Deep Throat' and the very existence of shockers like 'Ilse, She Wolf Of The SS' and 'Cannibal Holocaust', and what do you get? The artificial and meaningless divisions of genres, "high art" vs "trash", new ways of thinking vs new ways of making money, it was all on the table. For one brief decade it looked like a brave new world.
Then everything that was gained was lost - Spielberg and Simpson/Bruckheimer cleaned up (financially and aesthetically), and things have never been the same since. Watch 'Empire Of The Senseless' with that in mind. It may be flawed - you'll be alternatively fascinated and bored - but it is an important movie from an important period in movie history.
There is nothing in cinema that I can think of that compares to In The Realm Of The Senses. It is in a class of its own: beautiful, tender, sensual, erotic, horrifying. I can still remember the shock of seeing it perhaps twenty years ago: not just at the explicitness of the images, in every sense, but at the extraordinary passion and honesty of the two central performances, and Oshima's direction.
Despite the violent nature of the film, and the fact that it is based on a true event, I cannot think of another film that so truly captures the intensity of any emotional and sexual relationship at some point in its incarnation. If you have ever felt love and desire at their most powerful - the wish not to possess someone, but to become part of them and share with them how they experience the world - then you will recognize that feeling here. While certainly not a map for any relationship you might wish to have (I pray!), this film says more about what it means to be a man or woman than any other film I have seen.
Despite the violent nature of the film, and the fact that it is based on a true event, I cannot think of another film that so truly captures the intensity of any emotional and sexual relationship at some point in its incarnation. If you have ever felt love and desire at their most powerful - the wish not to possess someone, but to become part of them and share with them how they experience the world - then you will recognize that feeling here. While certainly not a map for any relationship you might wish to have (I pray!), this film says more about what it means to be a man or woman than any other film I have seen.
Sure, everyone (or most everyone) has heard about "Sex, Lies, and Videotape" and its remarkable statement about human sexuality. However, it is unlikely that as many people have heard about this film, which in a totally different way makes perhaps as profound a statement about that topic.
In fact, if you see an uncut version of this film, you are in essence watching pornography. That is, you are watching incredibly graphic sexual content that simply would not be allowed in an American film. I won't spell it out for you, but I will say this...do you know what they can't show you in American movies? This one shows that. And quite a bit more. This is not the type of sex you would see in a film like "Sex, Lies, and Videotape" or "Bliss" or some of the other decent American films about sex (though I can't think of any others). This is more like the sex shown in "Last Tango in Paris." The characters are so self-destructive and dangerous that the sex (one of the most inherent of all human practices) becomes an expression of their inhumanity. This is not easy stuff. But if you are willing to find an uncut version and experience the true power of this film, you may find yourself moved by the things you see.
This film blurs the line between pornography and art, and I believe that it stays one inch to the art side, but decide for yourself. Either way, I think that it is about time for American films to truly explore that distinction.
In fact, if you see an uncut version of this film, you are in essence watching pornography. That is, you are watching incredibly graphic sexual content that simply would not be allowed in an American film. I won't spell it out for you, but I will say this...do you know what they can't show you in American movies? This one shows that. And quite a bit more. This is not the type of sex you would see in a film like "Sex, Lies, and Videotape" or "Bliss" or some of the other decent American films about sex (though I can't think of any others). This is more like the sex shown in "Last Tango in Paris." The characters are so self-destructive and dangerous that the sex (one of the most inherent of all human practices) becomes an expression of their inhumanity. This is not easy stuff. But if you are willing to find an uncut version and experience the true power of this film, you may find yourself moved by the things you see.
This film blurs the line between pornography and art, and I believe that it stays one inch to the art side, but decide for yourself. Either way, I think that it is about time for American films to truly explore that distinction.
This movie was quite a shocker when my friend and I rented it a few years back. It was clear from the first explicit sex scene that this movie was going to be different from the types of movies my friend and I were generally used to.
After having viewed it recently again, and this time focusing more on the intrinsic value of the film rather than just on the shocking images alone like I had the first time I viewed it, I was surprised to find a dark, disturbing psychological drama about sexual obsession that really held my interest. It is interesting to note how the male and female leads, who both seem emotionally sterile to the world around them and are barely communicative towards one another in the traditional and normal sense, are inseparably bonded by a strange and sexual attraction they have for eachother. It is a fatal attraction of the darkest kind I've ever witnessed in a movie.
This movie is definitely not for all tastes or who are easily offended by graphic scenes of sex. But for those adventurous souls looking for something different and interesting, I recommend this film. Nagisa Oshima's other films of interest are Merry Christmas, Mr. Lawrence and the recent Taboo.
After having viewed it recently again, and this time focusing more on the intrinsic value of the film rather than just on the shocking images alone like I had the first time I viewed it, I was surprised to find a dark, disturbing psychological drama about sexual obsession that really held my interest. It is interesting to note how the male and female leads, who both seem emotionally sterile to the world around them and are barely communicative towards one another in the traditional and normal sense, are inseparably bonded by a strange and sexual attraction they have for eachother. It is a fatal attraction of the darkest kind I've ever witnessed in a movie.
This movie is definitely not for all tastes or who are easily offended by graphic scenes of sex. But for those adventurous souls looking for something different and interesting, I recommend this film. Nagisa Oshima's other films of interest are Merry Christmas, Mr. Lawrence and the recent Taboo.
¿Sabías que…?
- TriviaDemand to see the film at its first appearance at the Cannes Film Festival was so high, 13 screenings were arranged.
- Versiones alternativasThe original version ran 108 minutes. Producer Anatole Dauman received Oshima's permission to recut the film, resulting in a shorter 102-minute edit. This version has been distributed theatrically in some countries (such as France) and is available on video in Australia, the UK, the United States, and France. The French DVD includes both versions (via seamless branching), while the U.S. Criterion DVD features the cut footage as an extra. The PAL releases run 97 minutes. This shorter version makes the following changes:
- An early scene in which Sada has sex with Ishida while playing a shamisen has been cut by about a minute and a half. In the original version, Sada seemingly goes unconscious and Ishida checks for her heartbeat.
- A brief shot (12 seconds) of Ishida and Sada on a bridge has been added to the scene in which the couple goes out walking at night.
- A later scene (in which the geishas assault one of their own with a dildo) is cut by 14 seconds to remove a shot of Ishida and Sada's faces in mid-copulation.
- An entire two-minute scene is deleted about an hour into the film. This scene features Sada and Ishida having sex behind a thin screen, while Ishida speaks of the "darkness" he feels inside Sada.
- The scene in which Sada first strangles Ishida is cut by just over one minute. In the short version, the scene ends when Ishida starts coughing and Sada releases his throat. In the original version, Ishida asks her to resume, which she does (only to stop when he begins coughing again).
- The scene in which Ishida becomes drowsy while having sex with Sada is edited differently. The original version has slightly different dialogue and has an additional minute of footage where Ishida actually does fall asleep for a short time.
- The scene in which Sada wakes up after her final night with Ishida is cut by one minute. The original version shows Sada lying on the floor and apparently panicking, walking around the room and opening doors for no obvious reason. The short version cuts straight from Sada waking up to the shot of her standing over Ishida's body.
- ConexionesEdited into Video Macumba (1991)
- Bandas sonorasBallades for koto II-Spring: Mebae (Seeding)
Composed by Minoru Miki
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Detalles
- Fecha de lanzamiento
- Países de origen
- Sitio oficial
- Idioma
- También se conoce como
- In the Realm of the Senses
- Locaciones de filmación
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Total a nivel mundial
- USD 569
- Tiempo de ejecución1 hora 49 minutos
- Relación de aspecto
- 1.37 : 1
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