Kinky sex ai

Posted by / 29-Apr-2016 14:22

Kinky sex ai

Technically a French production (Japanese laws only allowed the explicit film to be made as a foreign production), it’s set in Tokyo in 1936, as the owner of a hotel (Tatsuya Fuji) begins a boundary-pushing relationship with a maid (Eiko Matsuda) who used to be a prostitute.

Based loosely on a real-life event involving a woman named Sada Abe and with the Japanese title “Ai No Corrida” (which translates literally as “Bullfight Of Love,” which is rather more fitting), it’s a portrait of an all-consuming love affair.

But while it has political (and particularly in the context of the others films on this list, feminist) overtones, this film manages to effectively mix the sensual and the disturbing.

The film became most famous for the scene in which Paul sodomizes Jeanne with a stick of butter, but it’s Bertolucci’s investigation of a relationship driven by degradation that feels groundbreaking now: Paul iss wallowing in grief after the suicide of his wife, and inflicts his pain on Jeanne, and yet somehow she can’t keep away.With sinister flashbacks, painstakingly involved composition and claustrophobic scenes of the present, Cavani utilizes BDSM in provocative ways, smearing the psychological makeup of people stuck in the past with tremendous results.“Story Of O” (1975)Published in 1954, Anne Declos’ Marquis de Sade-influenced novel “Story Of O” (published under the nom de plume Pauline Reage) was one of the most important literary works in introducing BDSM to a wider audience —as a literary phenomenon, it was inevitable that the book would make it to the screen at some point.Sure, it’s a bit judge-y and questionably coded in places (not least when Clint enters a “Cruising”-esque gay bar, though it’s diffused somewhat by a semi-jokey suggestion of his bisexuaity), but it’s still a fascinating curio in Eastwood’s career. It’s another classic film dealing in masochism and sexual perversion that had Roger Ebert famously disappointed (see “The Night Porter” above), but it’s clear that when Ebert calls Lynch out on “whistling that it was all in fun,” there’s a clear misunderstanding of the director’s attempt to satirize and expose the frivolity of suburban society.The notorious scene of Mac Lachlan’s earnest, naked, college kid Jeffrey hiding in Dorothy’s (Rossellini) closet, and watching Hopper’s deranged and psychotic Frank Booth inhaling unidentified gas and screaming for mommy ranks right up there among the most disturbing sexually perverse scenes ever put on film.

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