Japonés | Subs: Castellano/English
85 min | x264 1024x432 | 2350 kb/s | 192 kb/s mp3 | 23.97 fps
1,54 GB
1,54 GB
Tatuaje
Un misterioso artista de tatuaje coloca su obra maestra, una araña con cara humana, en la espalda de una mujer secuestrada. Ella y su amante se ven entonces forzados a entrar en una pesadilla, donde se enfrentan al peligro de convertirse en el mismo mal del que intentan escapar. Con cada nuevo incidente sangriento, el rostro de la araña parece enrojecer con un hambre cada vez mayor...
Con Irezumi, Ma-su-mura ofrece una narración fenomenal, un auténtico clásico de posguerra. Ma-su-mura no sólo nos deslumbra con una de sus composiciones visualmente más atractivas, sino que también permite al público discernir quién tiene el verdadero poder en el juego sexual. La elegante belleza de Ayako Wakao ronda la pantalla, seduciendo sutilmente al espectador, dando a la revelación de Ma-su-mura de la estupidez que marca la obsesión masculina por la posesión fálica su carácter incómodo pero revelador.
After a young girl is abducted, seduced and has a spider tattooed on her
back; she herself becomes a predatory monster, taking revenge on every
man who shares her bed. A lurid sixties 'pink film', adapted for the
screen by Kaneto Shindo, director of The Naked Island, from Junichiro
Tanizaki's short story.
This flamboyantly nihilistic, erotic costume thriller from one of the
bad boys of ‘60s Japanese cinema provides a good example of the
interesting associations that can arise when you view so many films in
such a short time. After seeing a number of mild-mannered movies about
the national predilection for social accommodation and respect for
tradition, it’s bracing to watch one that spits and scratches at the
face of such proprieties with such bad-mannered fury. The titular body
decoration (and it’s a doozy) is spread across the silky back of a
beautiful and spunky young woman from a middle-class merchant family who
is abducted into geisha work. The ugliness of the premise is turned to beauty by the
film’s black humor and sensuality: in what seems like almost every shot,
Ma-su-mura puts to retina-singeing use an astonishingly varied palette of
primary colors, without stumbling into garishness. The story is
another matter, garish and perverse and gleefully proud of it. Moral
clarity obviously isn’t this filmmaker’s bag, but Irezumi seems to be on
the side of the underdogs’ right (obligation?) to bite back hard at any
opportunity. Any explicitly feminist leanings are muddied by the
movie’s ambivalence towards its antiheroine and its drooling
fetishization of her body and face (not to mention a rather
conventionally moralistic ending). Anyone who wants to accuse Ma-su-mura
of misogyny might have half a case, but they’d have to contend first
with the movie’s far more intense misandrony.
- Sam Kerr
Blu-ray rip de endrju
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