夜茫茫[电影解说]

简介：The film is based on the life of Razia Sultan (1205–1240), the only female Sultan of Delhi (1236–1240) and her speculated love affair with the Abyssinian slave, Jamal-ud-Din Yakut.

简介：四子从小就是一名弃婴，捡到她的夫妇在她长大后将她卖给了歌舞伎，而在此她被一名和尚娶为妾，而在和尚死去之时，婆婆认为她是一名会给男人幸运的“鸿运女”。她后来改行在银行做事，在此她遇到了她所爱的男人铃木主水，她也因为会带给男人幸运，不断地牵入到男人为了成功不择手段的肮脏旋涡中。从此片我们也可以看到导演对于政治运作的大笔金钱关系，以及将女人视作物品的心态表露无遗。

简介：Venice, 1580. The Marquis Della Porta lives alone in his villa with his secretary Jacopo, his servant Paolo and his beloved courtesan Veronica. Veronica is the only female and the three men are in love with her.

简介：In the late nineteenth century, Ellen Creed works as the live-in companion to Miss Leonora Fiske, a retired actress who lives in the English countryside and who still retains her theatrical mannerisms. Ellen receives notice that the landlady of her two sisters, Emily Creed and Louisa Creed, who currently live in London, is threatening to call the police to haul them away to an asylum because of their disruptive behavior due to their mentally deranged state. Ellen will not allow her sisters to be institutionalized, and convinces Miss Fiske to allow them to stay with them for a couple of days. Miss Fiske was unaware of their deranged mental state when she agreed and is also unaware that Ellen hopes to make their stay permanent. Both issues eventually become apparent to Miss Fiske, who cannot tolerate how Emily and Louisa disrupt her home life. However, Ellen "convinces" Miss Fiske to take an extended leave from the house, while Ellen tells her sisters that she bought the house from Miss Fiske, which the sisters are not to tell anyone else. The secrets that Ellen is keeping about the situation threaten to bring her and her sisters' lives down when they receive a visit from their distant nephew Albert Feather, a cad who has his own financial well being as his main priority.

简介：“Break Through the Limits of Eroticism!” So read the title of one newspaper advertisement for SABANGJI, set during the Chosŏn dynasty (1392-1910) and undeniably catering to heterosexual male desire to gaze into the realm of female homoeroticism. In classic exploitation form, the title character of the film possesses both male and female genitalia, leading Sabangji to suffer an identity crisis and experience feelings of self-contempt. 　　And yet the film erases the protagonist’s masculine characteristics altogether. Sabangji’s penis never reveals itself even as a contour, existing merely as a crashing sound effect in the first sex scene. The erasure might be a sop to placate heterosexual men, but it also creates a space for female homoeroticism and an alternative, if tragic, form of love. In this sense, an otherwise sensationalistic phrase in the newspaper advertisement for the film is quite honest: “Hot female-to-female relations that rise above ethics and morals!” –Han Sang Kim

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