23 Changes

June 7, 2019
alternative_titles a
  • {"title"=>"Gokushiteki erosu: Renka 1974", "type"=>"Transliteration", "iso_3166_1"=>"JP"}
original_title u
  • Gokushiteki erosu: Renka 1974
  • 極私的エロス 恋歌1974
April 28, 2019
cast a
  • {"person_id"=>1906160, "character"=>"Herself", "order"=>3, "cast_id"=>9, "credit_id"=>"5cc5784b0e0a263743ec6549"}
cast a
  • {"person_id"=>2298809, "character"=>"Herself / former lover of Hara", "order"=>2, "cast_id"=>8, "credit_id"=>"5cc5782c0e0a263447ec7907"}
cast a
  • {"person_id"=>1077301, "character"=>"Himself", "order"=>1, "cast_id"=>7, "credit_id"=>"5cc578210e0a264ef4ec625b"}
title a
  • Extreme Private Eros: Love Song 1974
original_title u
  • Extreme Private Eros: Love Song 1974
  • Gokushiteki erosu: Renka 1974
April 3, 2019
overview a
  • 在这部属于原一男极端个人的记录片开始,导演表明他拍这部片子就是要尝试解决他和前情人武田美由纪之间的感情问题,这个武田美由纪也是他们孩子的母亲,同时也是一个双性恋的女性主义者。这一表白暗示着原一男因为武田美由纪而感觉困扰,需要将之作为魔怪驱除。此外,导演和他目前的情人小林佐智子(现在为制片人)一起工作的这部电影,想要进一步展示的还有,描述了一个罕见的、毫不畏惧地迎面复杂生活的女人。影片没有从杂乱不堪的生活中躲开,相反是纵情其中。武田美由纪允许原一男和他的镜头以一种令人吃惊的通道进入她的生活,完全赤裸裸地剥开自己,一种赤裸也是一种象征。影片呈现出复杂而深长的意味,似乎影片很明显是关于片中的这个女人,但也是关于导演原一男自己,他明白自己的一部分和武田美由纪密切相关,可是她,并不关心原一男或观众会怎么看她,她似乎不感兴趣被描述为一个被怜悯者。她无数次对原一男和他的镜头直接表达她的愤怒,并因此走开,这种愤怒和生气是捉摸不定、反复无常的,也是一种美丽和非常生动的场面。这部电影如同小川绅介早期电影一样,是日本记录片发展进程中的一个里程碑。它们之间的区别是,小川的记录片是有关社会主题的集体电影制作,而原一男的这部电影则是代表了一种朝向个体的彻底转向。
title a
  • 绝对隐私的性爱恋歌1974
translations a
  • zh-CN
March 28, 2019
crew a
  • {"person_id"=>1906160, "department"=>"Production", "job"=>"Producer", "cast_id"=>6, "credit_id"=>"5c9ce6d8c3a368182026ca0d"}
March 23, 2019
crew a
  • {"person_id"=>70047, "department"=>"Sound", "job"=>"Original Music Composer", "cast_id"=>5, "credit_id"=>"5c96503dc3a368419738e4a8"}
crew a
  • {"person_id"=>1695717, "department"=>"Sound", "job"=>"Sound Recordist", "cast_id"=>4, "credit_id"=>"5c96501b0e0a264cc0be8887"}
crew a
  • {"person_id"=>1077301, "department"=>"Camera", "job"=>"Director of Photography", "cast_id"=>3, "credit_id"=>"5c9650019251416b30f31eb8"}
crew a
  • {"person_id"=>1297812, "department"=>"Editing", "job"=>"Editor", "cast_id"=>2, "credit_id"=>"5c964ff70e0a264ccebe888c"}
March 26, 2018
genres d
  • {"name"=>"Foreign", "id"=>10769}
February 9, 2017
spoken_languages a
  • ["ja"]
iso_639_1 u
  • en
  • ja
March 14, 2013
production_countries a
  • JP
en
overview u
  • Documentary by Kazuo Hara.
  • In 1972, Miyuki tells her ex-lover Kazuo that she's going to Okinawa with their son. Kazuo decides to film her. He narrates his visits to her there: first while her flatmate is Sugako, a woman Miyuki is attracted to; then, while she works at a bar and is with Paul, an African-American soldier. Once, Kazuo brings his girlfriend, Sachiko. We see Miyuki with her son, with other bar girls, and with Sachiko. Miyuki, pregnant, returns to Tokyo and delivers a mixed-race child on her own with Kazuo and Sachiko filming. She joins a women's commune, talks about possibilities, enjoys motherhood, and is uninterested in a traditional family. Does the filmmaker have a point of view?
en
title a
crew a
  • {"person_id"=>1077301, "department"=>"Directing", "job"=>"Director"}
releases a
  • {"iso_3166_1"=>"JP", "release_date"=>"1974-01-01", "certification"=>"", "primary"=>true}

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