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964 Pinocchio (1991)
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Overview
User Rating:
Release Date:
14 September 1991 (Japan) morePlot:
Pinocchio 964, lobotomised cyborg sex slave, is thrown out onto the street by his owners because of his inability to maintain an erection... more | add synopsisAwards:
1 win moreUser Comments:
Visually enticing and meaningful. moreCast
(Cast overview, first billed only) | Haji Suzuki | ... | Pinocchio 964 |
| Onn-chan | ... | Himiko |
| Kôji Ôtsubo | ... | Narishima |
| Kyoko Hara | ... | Hisho (as Kyôko Hara) |
| Rakumaro San'yûtei | ... | Taichô |
| Kôta Mori | ... | Shimada |
| Tomio Watanabe | ... | Hosa |
| Anri Hayashi | ... | Yôjo |
| Kyôko Irohani | ... | Meido |
| Michiko Harada | ... | Kangofu |
| Yûko Fujiwara | ... | Kangofu |
| Yoshimitsu Takada | ... | Kanja |
| Naoshi Gôda | ... | Gaki |
| Takahiro Hosoya | ... | Michi Yuku Otoko |
| Ranko | ... | Raburî A-ko |
Additional Details
Parents Guide:
Add content advisory for parentsRuntime:
97 minCountry:
JapanLanguage:
JapaneseColor:
ColorAspect Ratio:
1.33 : 1 moreSound Mix:
StereoFilming Locations:
Tokyo, JapanFAQ
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Discuss this movie with other users on IMDb message board for 964 Pinocchio (1991)| Recent Posts (updated daily) | User |
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Firstly, we must address that this film is an art film. It thrives on visuals to tell the story. The explicitness of the visual effects are well executed for the sake of uncomfortableness and serves as a catalyst to keep the viewer interested, although it does not necessarily rely completely on visuals. The story itself holds a certain theme which comments on humans being just commodities. Sexual slavery does exist, however, in this particular film, the idea of sexual slavery has been taken to the extreme. Secondly, some underlying philosophy that this film holds, is that in order to experience peace with oneself, one must go through unbearable physical change. In a way, Kafka had his hand in this, think Metamorphosis, except incredibly painful and agonizing. Being a Japanese, underground, cult film, it is not appreciated everywhere, and is not expected to be. Director Shojin Fukui should proud of himself to have done such a controversial yet appealing film.