Tema: Film
Tip: Plakat

ovo je ORIGINALNI plakat
Carstvo čula (jap. Ai no corrida) je kontroverzna japansko-francuska erotska drama iz 1976. godine koju je režirao Nagisa Ošima. Film je snimljen po navodno istinitim događajima o mladom japanskom paru koji je cele dane provodio u strastvenoj erotskoj vezi pa je digao puno bure nakon premijere zbog eksplicitnih scena polnog odnosa te je i danas zabranjen u nekim zemljama.

Japan, 1936. Abe Sada je bivša prostitutka koja se je zaposlila kao služavka u hotelu. Jedne noći jedan starac ju prepozna i zamoli za spolni odnos, na što ona pristaje, ali ovaj ne uspijeva dobiti erekciju. Vlasnica lokala je Toku čiji je suprug potentni Kichizo. On ubrzo započne aferu sa Abeom te se čak i uda za nju. Mladi par po cijele dane provodi u krevetu, isprobavajući stalno nove načine strasti, ali s vremenom počinje gubiti zanos. Konačno, Kichizo zamoli Abe da ga počne daviti tijekom spolnog odnosa. Nakon par pokušaja, ona doživi orgazam još jednom, ali ga zadavi te odreže njegov penis.

Eiko Matsuda - Abe Sada
Tatsuya Fuji - Ishida Kichizo
Aoi Nakajima - Toku
Meika Seri - Matsuko

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ilustrovao TOPOR
Roland Topor (7 January 1938 – 16 April 1997) was a French illustrator, cartoonist, comics artist, painter, novelist, playwright, film and TV writer, filmmaker and actor, who was known for the surreal black comedy nature of his work. He was of Polish-Jewish origin. His parents were Jewish émigrés from Warsaw, Poland. He spent the early years of his life in Savoy, where his family hid him from the Gestapo.

Roland Topor`s parents came to France in the 1930s. In 1941 Topor`s father, Abram, along with thousands of other Jewish men living in Paris, were required to register with the Vichy authorities. Topor`s father was subsequently arrested and interned in a prison camp at Pithiviers, where inmates would be held before being sent to other concentration camps, usually Auschwitz. Of the thousands who were sent to Pithiviers only 159 survived. But Topor`s father, Abram, managed to escape from Pithiviers and hide in an area south of Paris.

While his father was in hiding, Topor`s landlady would confront the children, Topor and his older sister Hélène d`Almeida-Topor, and try to cajole them into giving away the location of their father. The landlady did not succeed. Then in May 1941 a neighbor tipped off the Topor family that the French police along with the Gestapo were going to search the entire building. So the family fled to Vichy France. In Savoy, four-year-old Roland Topor was placed in a French family, was given a false name, and took on the identity of a Catholic schoolboy.

The family survived, and in 1946 they sued the landlady to have their belongings returned, and to be allowed to resume living in their former apartment. The court ruled in their favor, they returned, and soon were once again paying rent to the landlady who had previously tried to have them apprehended.

The night before he died of a cerebral hemorrhage, it is reported that he couldn`t sleep, and instead spent the night visiting Parisian cafes, enjoying Cuban cigars, and drinking Bordeaux wine. When he arrived at the Cafe de Flore, he recounted a nightmarish dream he experienced. It was a dream that he thought might inspire his next novel:

I`m awakened suddenly by a feeling of imminent disaster. Turning down the sheet, I discover a cadaver in my bed, the husk of a man of small stature, but fat, and of an age equal to mine. My first reflex is to jump to the telephone to warn the police. But I hesitate; the presence of this rotting carcass in my bed is embarrassing. Explanations will be demanded of me that I`ll be incapable of furnishing. They`ll suspect me of a crime that`s abominable.`

Roland Topor may be best known for his graphic works with their surrealist humor. He studied at the École des Beaux-Arts in Paris. His artworks have appeared in books, newspapers, posters, and film animations.