8 ½ Women

1999 "When sexual desire becomes an obsession, it's every man for himself."
8 ½ Women
5.6| 1h58m| R| en| More Info
Released: 22 May 1999 Released
Producted By: Delux Productions
Country: United Kingdom
Budget: 0
Revenue: 0
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Synopsis

After the death of his wife, wealthy businessman Philip Emmenthal and his son Storey open their own private harem in their family residence in Geneva (they get the idea while watching Federico Fellini's 8½ and after Storey is "given" a woman, Simato (Inoh), to waive her pachinko debts). They sign one-year contracts with eight (and a half) women to this effect. The women each have a gimmick (one is a nun, another a kabuki performer, etc.). Philip soon becomes dominated by his favourite of the concubines, Palmira, who has no interest in Storey as a lover, despite what their contract might stipulate. Philip dies, the concubines' contracts expire, and Storey is left alone with Giulietta (the titular "½", played by Fujiwara) and of course the money and the houses.

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fatalbertqueenlatifahsameperson I am giving this pretentious piece of garbage a 1 simply because i don't believe there is a worse movie in the world.I hate this movie, i hate the acting, dialog, setting, writing and directing. I hope everyone that was involved in this movie burns and rots in the darkest circle of hell.Damn this disgusting waste of time.I pray every day that this movie is just a figment of my imagination. i pray that i dreamt the movie, and that i will never have to see it at my local video store again.BURN IN HELL
kenjha To overcome the death of his wife, an old man does what anyone in his position would naturally do (at least in a Peter Greenaway movie): he and his son populate their home with eight and a half (one has no legs) women and embark on a sexual odyssey. This being a Greenaway film, there is lots of pretentious and uninteresting blabbering and of course there is unnecessary male nudity. In fact the father and son share a bed sleeping in the nude. Gross. Besides, who wants to see an old guy full frontal? For those who are not into the homo-erotic scene, one of the women likes to do the nasty with horses. There is no story - just a random collection of dull scenes.
banzaibill When i saw this movie i had read and heard a bit about Peter Greenaway and his movies, that he was often compared to David Lynch and Fellini, he used "strong and controversial themes" and that he also worked with visual arts. So i was really interested when i finally got to see one of his movies on TV, which was this one.The movie opens with Greenaway's textual description of the scenes overlaid on top of several nicely shot but meaningless outdoor images, as pictures within pictures. While this got my attention up for about 20 seconds, as soon as the movie starts it is obviously just a gimmick-about as phooney as the reverse scrolling text in George Lucas "THX 1138".Then the movie starts. For the first few minutes i got interested, then depressed. Then i had to smile, and for the rest of the movie there was just one thing running through my head: how to best phrase "Peter Greenaway is a pure cinematic BLUFF MAKER!"8½ Women deals with the subjects of sexuality, the human body, death, prostitution and the relation to parents. These are topics that writers and directors have been centering on from the birth of cinema, yet Greenaway likes to think that he's the only one who dares to take it upon himself. He compares himself to Fellini, who this film is at least partly a tribute to.But in reality, Greenaway's strategy is the exact opposite of Fellini's, in each and every way. Fellini's movies deal with seemingly absurd situations and characters, but displays them in such a natural way that nobody even considers seeing them as "strange" or deviative. He makes us feel the events from the inside.Greenaway shows scenes which could have been perfectly natural and mundane, but he does everything he can to make us see them as absurd. The lighting, settings, style of dialogue and general isolation of the characters (no distracting "background elements" to make us feel like we're still in the real world) isn't there to convey any hidden truths or messages. It's all about confusing the audience!He might claim to be revealing mysteries of existence, showing aspects of humanity never shown before, but what he really doing is using "the magic of cinema" to make us believe that things are stranger than they really are! If successful, viewers of his movies feel like they have truly been revealed something important, but they can never gain any real knowledge from them because THEY DO NOT MEAN ANYTHING!Also, Fellini didn't like to show many explicit images of "sex, violence and such" because he felt that he could get his points across better by reflective events and commentary. While Greenaway throws all sorts of meaningless imagery at the screen, images and events which doesn't even have any point at all!I've also heard Greenaway compared to David Lynch. Which is somewhat relevant since they both obviously do settle to create "bizarre and disturbing" images. However Lynch is a much more commercially successful director, which can be attributed to him never hesitating to include more mundane and "normal life" sets in his movies.Lynch's movies take place in the "real world" (without any creative isolation) and he STILL makes them feel "weird". This in my opinion just shows that Lynch is an infinitely much better director than Greenaway, who i could never imagine starting to work on something like "Twin Peaks".Greenaway's constant use of nudity is nothing but an iconoclastic joke. It's a way of showing self awareness, cause he knows The Emperor Has No Clothes.
akramer Frederico Fellini's "8 1/2" is a movie this one is theoretically inspired by. There are consistent references to it in this film, some subtle, and some glaringly obvious. One should take this into account so that it will not hamper one's voluntary suspension of disbelief, though this movie definitely stands on its own if the viewer has never seen "8 1/2".Voluntary is, perhaps, an inappropriate word. This movie takes disbelief, which should certainly be present, and suspends it for you, in a most amusing way. The film may well attempt to say something deep about human nature, and the interaction between a fickle heart which has lots of love to give and a bored brain with so many thoughts - but it doesn't say it so loud that you can't just sit back and enjoy the picture. Some scenes are funny to all; some scenes may cause you to be the only hysterical person in the theater. In any case, it's well worth the ticket or rental cost. Some male nudity is present, though no more than the average British movie containing male nudity. No sex scenes are overly graphic, though one should definitely have an open mind going into the movie in order to enjoy it. If you didn't feel a significant need to leave the theater during "Gouttes d'eau sur pierres brûlantes," which I was last week, you should be able to thoroughly enjoy this film.(Lighting designers watch for the Kabuki scene; it won awards in Europe and definitely looks very cool.)