Topâzu

1992
NC-17
2h 15min

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Añade un argumento en tu idiomaA submissive hooker goes about her trade, suffering abuse at the hands of Japanese salarymen and Yakuza types. She's unhappy about her work, and is apparently trying to find some sort of app... Leer todoA submissive hooker goes about her trade, suffering abuse at the hands of Japanese salarymen and Yakuza types. She's unhappy about her work, and is apparently trying to find some sort of appeasement for the fact that her lover has married.A submissive hooker goes about her trade, suffering abuse at the hands of Japanese salarymen and Yakuza types. She's unhappy about her work, and is apparently trying to find some sort of appeasement for the fact that her lover has married.

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PUNTUACIÓN EN IMDb

5,9/10

3,7 mil

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Premios
- 1 premio en total

Vídeos1

Trailer 1:26

Trailer [OV]

Imágenes38

+ 30

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Argumento

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Curiosidades
The film was originally banned in the Canadian province of Ontario when released there in 1994. Numerous protests from people caused the censor board to pass the film uncut with a 'Restricted' rating.

Citas
Ai: I've discovered that I have no talent - none whatsoever.

Versiones alternativas
23 minutes, which included more nudity and explicit sex, were cut from the US version to prevent an X rating. Some of the scenes cut were:
The scene at the beginning is longer.
The scene with Mr. Satoh before he talks to his girlfriend is longer, including the scene showing him actually inserting the vibrator into Ai after she came out of the shower.
Ai licking both Mr. Satoh and his girlfriend as they are having sex.
Before Ai arrives to Mr. Satoh's room, they are slow-motion scenes showing Yakuza storming into Mr. Satoh's room, yelling at him for being a failure and restrains him. Despite his pleas, the Yakuza tie his girlfriend up and hooks her up with drugs, with him watching and being helpless to help her. The Yakuza then take turns sadistically raping and beating her.
Shortly after the guy says 'Let her go' referring to Ai, the scene returns to Satoh's bedroom where the Yakuza slashes the right side of her face with a tanto knife to show who's the boss, explaining why later her face is bandaged when she returns the ring to Ai. The scene then goes back to the lobby showing Ai running into the elevator scared. Miyuki, who was waiting for her, meets up with her after she gets out of the elevator. Seeing her terrified, Miyuki asks her what was wrong. Ai shakes her head saying everything was all right, it's just he wasn't home that's all. They then go to the young client's room.
The scene where the young client asks to be strangled is longer, showing Ai and Miyuki walking into his room being addressed as Mistress and Mistress Ai.
The masochism scene with Saki is longer.

Conexiones
Featured in Interview with Ryu Murakami (2008)

Banda sonora
Llegué Llegué / Guararey de Pastorita
Performed by Los Van Van

Reseñas de usuarios24

Comentarios

Reseña destacada

9/10

Beyond Surfaces

A shimmering brightness infuses "Tokyo Decadence". The neon-blasted streets, the eerie, artificial glow of offices and hotel rooms, even the translucent glow of daylight insinuates under the skin of the film.

The antiheroine of the film passes through a sexual Seven-Circles-of-Hell in Tokyo, used and battered by clients, gangsters and even friends who ply her with drugs and subversive sex. None of the sexuality is erotic, but it's also not presented as obscene or tragic. The spare, minimal approach to the dialogue heightens the tension and sense of dislocation. The film presents sex as a matter-of-fact commodity, flesh as spiritual bargaining tool in return for a temporary escape from alienation and fear.

It's an intriguing film, difficult to watch but rich in visual beauty and its subtextual dimensions are quite rewarding. The film fetishizes everything to the point of abstraction. The city of Tokyo becomes a gleaming morass of lights, skyscrapers and soullessness.

A brutal and delicate work of art.