Intentions of murder
Intentions of murder
SD V.O.S.E. 150 min NOTA USUARIOS: 6,8 NOTA PRENSA: 9 NR < 13 años

Intentions of murder

Akai Satsui

Director

Shohei Imamura

Nacionalidad

Japon

Año de producción
Género

Drama

Distribuidora

Avalon

En la película, una de las joyas de la filmografía de Imamura, seguimos la vida de una mujer víctima de una sociedad opresora que tiene un violento encuentro en su propia casa con un atracador.  

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  • Ir al perfil público de misarte
    misarte

    El tema es más original que otros cortos que he visto. La interpretación de la actriz me gusta, pero en cambio la del actor no me termina de convencer. Pese a eso con pocos recursos, dos actores, un único lugar de escenificación (o dos como mucho),... está bien logrado. El argumento es bueno, curioso y divertido.

    7.0 7 2013-06-14 21:18:08
  • Ir al perfil público de jhonnylyndon
    jhonnylyndon

    ... No caben en la boca.

    3.5 3,5 2013-05-20 16:00:22
  • Fernando Croce de Movie City News

    Audacious and subversive, the extraordinary Intentions of Murder is worthy of Buñuel. After years of neglect by a bullying, philandering husband (Ko Nishimura), Sadako (Masumi Harukawa) has retreated into bovine suburban drudgery. When her husband is away, a man (Shigeru Tsuyuguchi) breaks into her home and rapes her. Tradition dictates that the attack should lead Sadako into shame and suicide; to her confused surprise, it instead seems to dissipate the numbing cloud of her servitude. The sensuality suppressed since her youth returns, the shock to the system turns the zombified housewife into a creature capable of passion and, as she's reunited with her attacker (a pathetic, weak-hearted musician who, it turns out, is in love in her), violence.

    9.0 9.0
  • James Quandt de Web oficial

    Intentions of Murder also tellingly deploys obstructions in the frame—the massive wooden post that sits off center in the funeral sequence as the old women chat about tabi, for example—and many scenes are shot through portals and apertures, doors and windows, the steps of a ladder or grates of a sliding screen. (Riichi and Yoshiko’s trysts are repeatedly filmed through shelves of books, as perhaps all those of adulterous librarians should be.) This voyeuristic impulse culminates in Yoshiko’s clandestine photography, which has a mortal aura, her camera’s focus like a gun’s target, and a deadly outcome. (As in Hitchcock, eyeglasses and cameras are associated with death; Intentions of Murder has odd, probably unintentional, echoes of Strangers on a Train.) But, portending the ending of The Pornographers, doubt is cast on the image. Sadako, faced with the incriminating evidence of her dalliance with the rapist as Riichi turns detective and inquisitor at her hospital bed, blithely lies, denying that the woman in the photos is she. Her repeated evasion takes on the intransigent force of refusal, as if repudiating the very ability of film to capture reality.

    9.0 9.0