Seduction: the cruel woman

from Wikipedia, the free encyclopedia
Movie
German title Seduction: The Cruel Woman (international title)
Original title Seduction: the cruel woman
Country of production Germany
original language German
Publishing year 1985
length about 84 minutes
Age rating FSK 16
Rod
Director Elfi Mikesch
Monika Treut
script Elfi Mikesch
Monika Treut
Leopold von Sacher-Masoch (template)
production Renée Gundelach
music Marran Gosov
camera Elfi Mikesch
Monika Treut
Ulrike Zimmermann
cut Renate Merck
occupation

Seduction: The Cruel Woman is an experimental German feature film by the directors Elfi Mikesch and Monika Treut from 1985. The film, staged in a collage-like, surreal style, depicts the sadomasochistic experiences of a group of different people in the immediate vicinity of a dominatrix and was made by Leopold von Sacher -Masoch's novel Venus in Fur inspired.

action

The businesswoman and dominatrix Wanda regularly carries out paid public BDSM performances with her male and female bottoms in her gallery at the Hamburg harbor. One of the participants in this demonstration, the romantic enthusiast Gregor, falls in love with her. The journalist Maehrsch wants an interview with Wanda and learns something about his own hidden masochism and becomes a "toilet slave".

backgrounds

  • Xenia Katzenstein , known to a wide audience from a coffee commercial as Frau Sommer, was responsible for the scenery and decoration of the sets.
  • The art professor Peter Weibel can be seen in a supporting role as a toilet slave.
  • The Hamburg film office and the North Rhine-Westphalia film office supported the production and distribution of the film.
  • The film was shot on 35 mm in color and premiered in February 1985 as part of the forum of the Berlin International Film Festival.
  • The film should have received 250,000 DM from the Federal Ministry of the Interior's film funding committee . Shortly after the script was submitted to Interior Minister Friedrich Zimmermann , the application was withdrawn without giving any reason, after there had previously been prospects.

criticism

  • “You won't be able to see more exciting, more subversive, stranger cinema here anytime soon.” HC Blumenberg, Die Zeit
  • “This subversive, sovereign camp film enchants, beats up, conquers and confuses the viewer.” Frank Ripploh, Tip, Berlin
  • "... the perversion of masochism is neither explained nor promoted for understanding among 'normal' moviegoers. (...) all round superfluous and annoying." Hans Messias, Catholic Film Service
  • "This mixture of fecal language and eroticism cannot be expected of anyone." Friedrich Zimmermann (CSU), former Federal Minister of the Interior, on the script on the occasion of the CDU / CSU media talks, Bayrischer Hof, Munich
  • "The lavishly beautiful pictures create a pull that is difficult to escape and make SEDUCTION: THE CRUEL WOMAN into one of the most mysterious films in German cinema." Roland Keller, Cinema
  • “Thanks to numerous nuances in voice, facial expressions and body language , the actress Mechthild Grossmann is not just a strong woman. It is as if at times it literally abolished the contrast between the sexes. She has become the absolute ruler of the film. SEDUCTION: THE CRUEL WOMAN is not least her inspiring work. ” Wolfgang Würker , Frankfurter Allgemeine Zeitung
  • “Thank you for this wonderful film” Jean Baudrillard , after the press screening in Paris
  • "... probably the only intelligent interior view of consensual sadomasochism ever to be seen on screen." Andrew Dowler, NOW, Toronto
  • “Great: sadomasochism like Avedon and costumes from Dior.” Film Comment
  • “A provocative mix of Fassbinder and Cabaret!” New York Times
  • "And when she was finally [...] shot dead by her husband (who was also her slave), the greatest joy on her face is absolutely indescribable." Miodrag Kojadinović , "Seduction: The Cruel Woman I Could Have Been", Angles magazine, Vancouver, January 1994

Festivals

The film was shown at the following film festivals, among others:

Individual evidence

  1. ↑ The erotic counterculture must come from , In: Der Spiegel , No. 44, 1988, p. 272

Web links