18-year-old Ainu is kidnapped and sold to a brothel. Her good looks and wild personality make her very popular with the lustful clients, but also draw the lesbian attentions of brothel madam Chun Yi. Chun Yi teaches Ainu the ways of lust and the ways of kung fu, and Ainu becomes more and more similar to her captor. But rage at her treatment is still burning inside her.
Kryfes exomologiseis mias kinezas avlikou, Body and Sword, Ai nu, Интимная исповедь китайских куртизанок, 爱奴, Egy kínai kurtizán intim vallomásai, Ai Nu, Esclave de L'Amour, 애노, Confissões Íntimas de uma Cortesã Chinesa, Confesiones íntimas de una cortesana china
Berlin International Film Festival 
USA Philadelphia International Film Festival 
Greece Athens Film Festival (Restored Version) 
Denmark NatFilm Festival USA BAMcinemaFest 
Hong Kong Denmark Greece Hong Kong USA
Girls hating men, making men lust over them to be able to kill them, serving cunt, kissing each other, and then having a bitch off.
i women's rights but most importantly I women's wrongs.
von sternberg + mizoguchi + jess franco = whatever this wonderful film is. sapphic master/slave dialectic explored within the idyllic confines of wintry shaw sets lit by supple torch-fire, an all-timer wuxia where the master martial artists weaponize sex instead of swords, pink transparent drapes twisted about like a spider's web of corrupting-yet-irresistible decadence. chor yuen transports you to a moral universe of desire sabotaged by power -- businessmen feign bondage, sex workers brandish daggers, everyone courts despair. softcore cinema with a hardened heart.
As angry and ionate an attack on institutional prostitution as anything you'll see from Mizoguchi or anywhere else, director Chor Yuen uses all the opulent romanticism of the Shaw Brothers style at its peak to expose the twisted black heart of the brothels that casually make up the background of so many adventure films.
"All men are the same. They all lust after us."
"I have watched them die one after another. I am ecstatic with joy."
Lesbian feminism wuxia. A perfect mix of sleazy eroticism, exploitation, revenge and martial arts. So yes lesbians and martial arts. This is what cinema is all about.
A vingança cultivada com amor.
O roteiro usa o pilar do amor como vingança e de como uma alma arredia doma seus instintos primários ao trabalhar com tempo, paciência e amor para punir todos que lhe fizeram mal.
Ainu foi sequestrada, estuprada e é continuamente explorada, seu único objetivo é a vingança e ela vai atrás dela usado o amor que a sua captora tem por ela.
O som é limitado por efeitos sonoros que deixam a desejar.
As lutas são boas e bem ensaiadas, principalmente a luta final.
This is the Shaw Brothers studio system at its very best. Right from the opening, this is something different - the elegance and romanticism of the shot composition and lighting fabricate an entirely different tone. The sexual nature of this revenge story is what seperates Intimate Confessions of a Chinese Courtesan from other Shaw films of this era. It's a critique of forced prostitution told through the Wuxia format, with throughlines of queer declarations that elevate the film beyond those that have come before it, and even some that will follow. The content and nature of the film may be brutal and at times wearying, but the visual aesthetics of the film paint these acts of violence and revenge in these wonderfully stylised colours; a distinct juxtaposition of light and darkness to create a harmonious, and vital piece of exploitation cinema.
Blood stains on snow - sex, deceit, love and death, revenge destroys everything. One of the greatest formal aesthetes getting his hands dirty on a monumental mix of wuxia, sexploitation and suspense, no concessions being taken with its adorned, blunt violence. Words fail to describe how breathtakingly its climax develops.
I wanted to start off my birthday month with a banger and I am so glad I chose this. The action? Killer. The vibes? Wild and entrancing. But what makes this film fucking sing are the lead performances by Lily Ho, as Ainu, a young, poor woman kidnapped and sold into what amounts to sexual slavery at a moneyed brothel and Betty Pei Ti as Lady Chun, the vicious lesbian madame of the establishment who brutalizes the women forced to work for her with violence of various shades. Their physicality in the action scenes as well as charged moments of lust and violence are calibrated in such a way that this film’s exploration of the cost of survival for women,…
The air of ornamental grandeur and artifice that permeates the final, moonlit showdown between Uma Thurman's "The Bride" and Lucy Liu's O-Ren Ishii in Kill Bill: Vol. 1 (2003), right down to the blood calligraphy on the snowy ground, likely owes something to the duplicitous, hyper-ornate world of Chor Yuen—and not the least to the brutal yet stylized woman-on-woman offenses found in Intimate Confessions of a Chinese Courtesan (Ai nu), a lurid, voyeuristic masterpiece whose greatness lies not only in its imaginative fusion of sexploitation and wuxia melodrama or its formal and visual elegance, but also in the way Chor manages to complicate the film's gender and sexual dynamics with a mere zoom-in to a lonely pair of eyes.
Repeated mention of sexual assault ahead.
Intimate Confessions of a Chinese Courtesan is a blast, a Shaw Brothers-style rape-revenge story, with a beating lesbian heart.
Our hero, Ainu (Lily Ho), is kidnapped as a child and sold to a high class brothel run, as quality fiction requires, by a hot lesbian who disdains all men (Betty Pei Ti as Madam Chun). Ainu fights ferociously to protect herself, and rejects every effort by Madam Chun to persuade her to comply, be they violent or seductive. Eventually, inevitably, she is repeatedly raped by powerful men who pay enormous fees for her services; when she attempts suicide, she is saved by a "mute" boy (turns out, he's just pretending) who tries to help…
