Photographer/filmmaker Yon Fan (Bishonen, Peony Pavilion) trains his celebrated eye on five disparate individuals in his controversial erotic drama Colour Blossoms. Teresa Cheung stars as a real estate agent drawn into a torrid - and sadomasochistic - relationship with a morose, stunningly beautiful Japanese photographer played by male model Sho. The two cavort in a luxurious apartment owned by an elegant upper-crust Japanese lady (Japanese diva Matsusaka Keiko), crossing paths with an infatuated policeman (Carl Ng), a mysterious Korean woman (Korean transsexual Ha Ri Su), and an increasingly tangled web of violence, criss-crossing passions, and lurid, unchecked desires. Prepare to immerse yourself in Yon Fan's controversial and delirious cinematic vision Colour Blossoms! . You can read more in Google, Youtube, Wiki
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James O (ag) wrote: Well shot, well acted, taut and utterly utterly depressing. I never want to watch it again. eurgh
John S (br) wrote: One of my all time favorite documentaries, and responsible for a big portion of my views on human rights.
Jim L (jp) wrote: The opening scene was interesting, but it goes downhills from there. Can't actually feel the chemistry between the actors and actresses, and the plot just makes no sense at all.
Ryan C (au) wrote: A very good movie that felt like a mix between a redneck Hellraiser and Halloween. It's a great 80's horror movie that's loads of fun and entertainment.
Cameron H (ag) wrote: With only five minutes left in the film, I was ready to pass off The Cabinet of Dr. Caligari as a necessary stepping stone in the genre of horror that, unfortunately, has not dated very well. I was, and still am, ready to praise the movie for its ghoulishly gorgeous set design, one of the definitive sets for German expressionism, and its atmosphere for the depiction of a (presumably) old fable about a doctor who controls a somnambulist (or sleepwalker) in order to commit horrific murders throughout a small village. I was, and still am, ready to raise an eyebrow at silent film acting. Imagine watching a middle school production of Beauty and the Beast, where you recognize how well directed it is, but you cannot help but wince at when the melodrama of the actors' performances takes you out of the atmosphere. Now replace the actors with (presumably) trained adults. I was almost certainly ready to deduct points for major pacing issues. With Dr. Caligari (Werner Krauss) and Cesare (Conrad Veidt) hamming up evil/creepiness, the film still thinks that it can fool you into thinking there is another explanation for such events. By the fifth act, when our hero Francis (Friedrich Feher) reads Caligari's diary with other doctors at the local mental asylum, I would argue that there were zero revelations. And blah, blah, blah, justice prevailed. Gag me.*SPOILER* What I had dismissed as an odd opening could have actually given away the twist. This whole story is constructed as a narrative by Francis, as he is telling this to a willing listener in some garden. Francis' fiancee Jane (Lil Dagover) is wandering through the garden, disengaged from human interaction. Francis observes her wandering with ecstatic attention, while the listener seems like he is in his own world. When Francis begins to tell the story, the listener looks like he is trying not to fall asleep! Rude, right? Maybe. Once the story is over, we return to the garden. Our heroes lived to tell the tale. And then they walk to the main hall... of the asylum. Francis proposes to Jane (weren't they already engaged?), Cesare is hanging out with everybody else, and Caligari enters the hall as the director of the asylum, who, perhaps understandably, instills fear in Francis, one of his many patients. Francis seems to have been in the asylum for a while, as when he points to the director and screams, "Dr. Caligari!," the director has this A-HA moment as to what might be wrong with Francis. This eliminates most probability of this being another experiment conducted by the nefarious Caligari. Coming down from the high of a twist ending, I would say that the creepy visuals of the movie are not too diminished by the story, one way or another. The music was suitably atonal. The twist can justify some, but not all, pacing and acting issues, as if they were the poor creation of a madman. That is a stretch, if I were truthfully judging the quality of the movie. I would watch it again, to see how I absorb everything with the knowledge of what the story actually is.
Brendan N (ru) wrote: The film turns the old fashioned thriller story into something fun and original. Alfred Hitchcock would make these films with he's eyes shut and I would assume he would enjoy this clever twist on the wrong guy. Bryan brown is well cast as the special effects artist who accepts a job that soon leads to a murder charge. Dennehy is good as the old seasoned detective who uncovers the plot. The film is full of promising actors which gives the film more depth then normally required. The concept is fun and quite rewarding. If you enjoy a fresh take on an old tired genre film then this is the film for you. The overall story is full of plot holes but you will ignore these once the film sucks you in
Anthony I (es) wrote: A dizzying, mind-numbing experience that is more laborious to sit through than to love, unfortunately. But when this film hits you, in the only way David Lynch can, you will be absolutely stunned and awed. In the midst of tedium, there is absolutely beauty, and genius on display. Certain scenes just make the film completely memorable. They contribute to the cult success that this film has gotten, and it's reputation as one of the 21st century's best films. But for this viewer, it just didn't resonate with me. Blue Velvet on the other hand, don't get me started on what that film did to me.
Mike W (br) wrote: A few overly obvious moments but you can tell it's intended for kids audience. fun and nostalgical nonetheless