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8 ½ Women
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8 ½ Women (1999) More at IMDbPro »

8 ½ Women -- Following the death of the mother, a father and son open up a brothel in their Genevan estate after watching Fellini's "8 1/2".


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Peter Greenaway (writer)
View company contact information for 8 ½ Women on IMDbPro.
Release Date:
12 August 1999 (Czech Republic) See more »
If every man thinks of sex once every nine minutes, what does he think of the other eight? See more »
Following the death of a mother, a father and son open up a brothel in their Genevan estate after watching (1963). Full summary » | Add synopsis »
Plot Keywords:
1 nomination See more »
User Reviews:
Women: Types and Missteps See more (44 total) »


  (in credits order) (complete, awaiting verification)

John Standing ... Philip Emmenthal
Matthew Delamere ... Storey Emmenthal

Vivian Wu ... Kito
Annie Shizuka Inoh ... Simato (as Shizuka Inoh)

Barbara Sarafian ... Clothilde
Kirina Mano ... Mio

Toni Collette ... Griselda / Sister Concordia

Amanda Plummer ... Beryl
Natacha Amal ... Giaconda the Baby Factory
Manna Fujiwara ... Giulietta / Half Woman

Polly Walker ... Palmira

Elizabeth Berrington ... Celeste, Emmenthal Maid
Myriam Muller ... Marianne, Emmenthal Maid

Don Warrington ... Simon

Claire Johnston ... Amelia, Philip's Wife
Pol Hoffmann ... Mourner (as Paul Hoffmann)
Tony Kaye ... Mourner
Ann Overstall Comfort ... Mourner (as Ann Overstall)
Malcolm Turner ... Undertaker
Patrick Hastert ... Man in Street

Julian Nest ... First Man in Cinema (as Julian Vincent)
Ciaran Mulhern ... Second Man in Cinema
John Overstall ... Third Man in Cinema

Derek Kueter ... Debt Collector
Jules Werner ... Debt Collector
Sophie Langevin ... Debt Collector Woman
Denise Gregoire ... Sister Nun
Sascha Ley ... Nun
Bettina Scheuritzel ... Schwester Fatimah
Radica Jovicic ... Nun
Jill Mercedes ... Nun
Dean Harrington ... American Businessman
Noriyuki Konishi ... Korean Businessman
Jean-Gabriel Dupuy ... French Businessman
Stéphane Prevot ... French Businessman
Katsuya Kobayashi ... Simato's Father
Ryota Tsuchiya ... Simato's Brother
Takumi Matsui ... Simato's Fiancé
Kiyosi Ishiguro ... Brother Fiancé
Hairi Katagiri ... Half Woman Companion
Yurika Sano ... Half Woman, 8 Years Old
Satomi Ando ... Half Woman, 10 Years Old
Sachiko Meguro ... Mio's Companion #1
Hisayuki Yoshioka ... Mio's Companion #2
Hanji Mishima ... Mio's Companion #3
Toyonosuke Fujima ... Kabuki Father
Kango Fujima ... Kabuki Son
Senyoichi Nishikawa ... Kabuki Son
Vladimir Bogachov ... Otello
rest of cast listed alphabetically:

Peter Greenaway ... (uncredited)

Directed by
Peter Greenaway 
Writing credits
(in alphabetical order)
Peter Greenaway  writer

Produced by
Bob Bellion .... co-producer
Jimmy de Brabant .... co-producer
Terry Glinwood .... executive producer
Bob Hubar .... executive producer
Kees Kasander .... producer
Michael Pakleppa .... co-producer
Kosaku Wada .... line producer
Denis Wigman .... executive producer
Cinematography by
Reinier van Brummelen 
Sacha Vierny 
Film Editing by
Elmer Leupen 
Casting by
Carrie O'Brien 
Aimi O 
Danielle Roffe 
Production Design by
Wilbert Van Dorp 
Emi Wada 
Set Decoration by
Kayo Sakurai 
Costume Design by
Emi Wada 
Makeup Department
Sara Meerman .... hair stylist
Sara Meerman .... makeup artist
Production Management
Victoria Goodall .... production manager
Sadao Hoshino .... production manager
Jean-Claude Schlim .... production manager
Second Unit Director or Assistant Director
Gert Embrechts .... first assistant director
Koji Kobayashi .... first assistant director
Shin Mizuguchi .... second assistant director
Aimi O .... second assistant director
Anna Worthington .... third assistant director
Art Department
Edouard Pallardy .... head painter
Todd Van Hulzen .... scenic artist/sculptor
Sound Department
Graham Edmondson .... dolby consultant
Michael Keinath .... sound recordist
Mel Kutbay .... foley artist
Garth Marshall .... sound recordist
Luuk Poels .... foley editor
Luuk Poels .... foley supervisor
Luuk Poels .... sound editor
Wim Post .... dubbing mixer
Carlo Thoss .... boom operator
Special Effects by
Osamu Kume .... special effects
Visual Effects by
Arno Beekman .... digital artist (uncredited)
Georges Branche .... stunt coordinator
Arlette Spetebroot .... stunts
Camera and Electrical Department
Benny Ashoff .... assistant camera
Jaap Buitendijk .... still photographer
Kazunori Hirasawa .... clapper loader
Benjamin Lee .... still photographer
Akira Sawano .... clapper loader
Marie Spencer .... focus puller
Benito Strangio .... camera operator
Reinier van Brummelen .... lighting designer
Casting Department
Stéphane Foenkinos .... casting associate
Editorial Department
Myrthe Sardjoe .... assistant editor
Other crew
Buchy Armand .... location trainee
Bob Bellion .... financial controller
Kanyo Fujima .... choreographer: Kabuki
Toyonosuke Fujima .... choreographer: Kabuki
Lydia Gonzalez .... production coordinator
Klaus-Michael Grüber .... opera director: "Otello"
Michael Hogh .... production assistant
Frank Klein .... financial controller
Cecilie Levy .... continuity
Willy Loedts .... pig trainer
Beatrice Pettovich .... location manager
Jean-Luc Simon .... production assistant
Diana Stiegler .... caterer
Christophe Thiry .... location trainee
Roland Wigman .... legal counsel
Norene Bini .... dialogue coach: Vivian Wu (uncredited)

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
Rated R for strong sexual content including dialogue and pervasive nudity
118 min
Aspect Ratio:
1.66 : 1 See more »
Filming Locations:

Did You Know?

Philip Emmenthal:I like sleeping. You were conceived in this bed.
Storey Emmenthal:You weren't sleeping then.
Philip Emmenthal:No... but I have a feeling your mother was.
See more »
Movie Connections:
Referenced in Hannah Takes the Stairs (2007)See more »
Sosaku YoshiwaraSee more »


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23 out of 29 people found the following review useful.
Women: Types and Missteps, 24 July 2000
Author: tedg ( from Virginia Beach

A master visual allegorist reaches farther and fails. But not for the reasons others claim here. Greenaway has never centered his films in the narrative -- we'd always be frustrated to look for satisfaction there. (`Drowning' which among his works most delivers a story does so incidentally.) And this is a film about women, not sex, which will frustrate others.

Here is his most character-driven film. At last, he works on closeups and some character definition. The primary ordering of the film is by basic archetypes of women, particularly archetypes drawn by men. This is supposed to be his most painterly film: the representative women are to be presented in scenes that reference famous paintings. Greenaway has stated that painting cuts to the basic drivers in cultural revolution, and the representations of women therein are tokens for everything conceived. Women thus are both humans and basic tokens in the redefinition of life.

Such a rich conception is thoroughly Greenawayan and might have formed the skeleton for another masterpiece. Along the way, we have by now familiar devices. Numbers: random as in pachinko rather than ordered. Contrasts between Eastern (here just Japanese) and Western management of concept and image. Some slight use of layered images, here in the self-reference of displaying the screenplay.

My complaints are two. I consider them fatal, but still celebrate Greenaway.

The notion of archetype depends on clarity, a natural orthogonality and completeness of classes. Here we have the nun, whore, Chinadoll, servant, cripple, childbearer, fetishist, butch, and spontaneous addict. Time is invested in defining these. A few are singled out to be something more than props for lush compositions: the geisha chinadoll, the lesbian accountant, the gambler and the opportunistic, openly enthusiastic whore. But in bringing them to life, they escape their categories: two of these are male impersonators, another two financial manipulators, another two vamps. Three are Japanese. Usually, Greenaway's combination of painting (erudite structure and framing of scenes) and film (narrative, development) reinforce one another. Here, they dissonate.

The second problem may be more fundamental. You really have to know your stuff to enjoy these films. My knowledge of The Tempest is rather deep, so I saw how rich was `Prospero's Books.' I read up on restoration comedy for `Draughtsman,' and discovered art in the viewing that I presume no one else in the theater saw. This film is supposed to reference the feminine archetype not as defined by popular culture, but by the history of painting. My knowledge of the art is poor, so I cannot attest to how deep the annotations are here. (Little use is made here of the layered image and narrative comment. Wonder why, since it would have been so natural.

But I do know Gauguin, who also was a visual allegorist, who also worked with feminine archetypes and also the fascination with Asian differences. His monumental canvas `Where are We Going?' does just what this film purports.

I wonder if there is little there in this film.

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