The story of an orphan girl, brought up in naive, rustic innocence by an elderly relative, who is suddenly exposed to the brutality, greed and deceptiveness of the outside world, when her grandmother dies.
After escaping from an insane asylum, a medical student assumes the identity of a mysterious dead man, who appeared to be his doppelganger, and gets lured to a sinister island ruled by a mad scientist and his malformed men.
In the middle of a fierce commercial competition between three caramel companies, an executive builds up a ditsy teenage girl as a mascot while simultaneously trying to uncover the rival companies' plans.
Yuko is sent to the coastal regions to be raised away from the rest of her sophisticated family where she finds out from her ill grandmother that she is actually the love child of her wealthy businessman father and his ex-secretary.
A blind sculpter kidnaps a beautiful young model and takes her back to his home. He and his mother live in a warehouse that he has turned into a surreal tribute to the senses. It is filled with huge sculptures of body parts and the female form. He is obsessed with exploring the senses to the fullest. At first, the model only wants to escape from this bizarre scene, but eventually she succumbs to his strange vision and even surpasses his obsession.Written by
Fred Cabral <firstname.lastname@example.org>
A nightmarish and culturally subjective odyssey of polymorphous perversion.
There are few films as psychosexually unnerving as MOJU, a visually arresting Japanese art-house classic which illustrates a blind sculptor's darkly sexual "idee fixe", and a young woman's metamorphosis of mind and body. This is erotica of a tenebrous nature rarely explored in films, and will surely rouse reproach in today's politically sensitive milieu for its limning of male-induced female disempowerment(a tender subject which is apparently a bit more temperate in Japanese culture than in many others). Initially a resistant captive, she submits gradually to her oppressor, eventuating with the willful(and eager) ultimate surrender of every aspect of her being.
A disquieting sadomasochistic fever-dream, MOJU is also underscored with violative elements of a strangely touching, almost fragile intimacy between the two key characters. This dynamic of tenderness and firebrand works well, softening somewhat the overall daunting severity. Iconographically, it's a unique and uncommonly forceful film, transpiring chiefly within the darkness of an expansive subterrane. The chamber has black walls exhibiting floor-to-ceiling reliefs in depiction of various body parts. A massive, abstractly sculpted female nude is the central fixture, which serves as a bedstead of sorts. The high contrast of these ghostly-white effigies against the black walls creates a surreal illusion of free-floating entities in the crepuscule of space...it's an appropriately asomatous stage for the bizarre 'mise en scene' at hand, and contributes greatly to the the film's abstruse semblance.
Individuals of offroad aesthetic tastes should enjoy this unexampled and very memorable conception...explore it, and you *will* be affected in a spectrum of ways.
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