Pinocchio 964, lobotomised cyborg sex slave, is thrown out onto the street by his owners because of his inability to maintain an erection. He is befriended by a criminally insane, ... See full summary »

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(as Shôjin Fukui)

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(screenplay) (as Shôjin Fukui), (screenplay) | 2 more credits »
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Cast

Cast overview, first billed only:
Haji Suzuki ...
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
Edit

Storyline

Pinocchio 964, lobotomised cyborg sex slave, is thrown out onto the street by his owners because of his inability to maintain an erection. He is befriended by a criminally insane, memory-wiped, homeless girl. Meanwhile, the corporate entity who manufactured and sold him plots to kill him because of his malfunction. Written by Food <foodveyor@hotmail.com>

Plot Summary | Add Synopsis

Genres:

Horror | Sci-Fi

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Details

Country:

Language:

Release Date:

14 September 1991 (Japan)  »

Also Known As:

964 Pinokio  »

Filming Locations:


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Technical Specs

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Sound Mix:

Color:

Aspect Ratio:

1.33 : 1
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Trivia

The film takes place in 2064. See more »

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User Reviews

 
Visually enticing and meaningful.
22 December 2005 | by (United States) – See all my reviews

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.


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