Filme pornô do Ang Lee vence Festival de Veneza

Ang Lee e sexo explícito? Estou dentro.

Ele teve que cortar meia hora do filme pra ele ser liberado pra passar na China...

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A crítica da IGN (quem diria) é muito bem escrita, e faz o filme parecer excelente:

[quote=IGN]TIFF 07: Lust, Caution

Review: Lee's latest takes the Taiwanese director to China for a searing, sexy tale of espionage.

by Todd Gilchrist 

September 7, 2007 - Following his triumphant win at the 2006 Oscars for Brokeback Mountain, director Ang Lee quite literally could have done anything he wanted as a filmmaker (after all, he had just won the Academy of Motion Picture Arts and Sciences' highest filmmaking honor for bringing a controversial story about a decades-long gay relationship to the screen). And that's precisely what he has done with his latest, Lust, Caution: The Taiwanese director opted to make a sex-filled Chinese-language spy drama that runs more than two and a half hours and features a virtual unknown in the lead role.

Despite Lee's monumental talent and ability to make accessible subjects that in other hands would feel completely foreign, even longstanding fans are unlikely to expect this film to join the ranks of his other genre, gender and culture-transcending classics. But even as a less visible or immediately provocative tale than Brokeback, Lust, Caution is a beautiful, erotically-charged tale that easily stands among the director's best work.

Tang Wei plays Wong Chia Chi, an otherwise unassuming Chinese student who in 1938 finds an unexpected calling when she agrees to take part in a patriotic play. Moving the audience with her tearful performance, Wong realizes that she has been recognized for the very first time in her life -- albeit as a different person -- and throws herself into the life of an actor. But when fellow student Kuang Yu Min (Wang Leehom) invites the theater troupe to serve their country by assassinating a Japanese collaborator named Mr. Yee (Tony Leung), her talents are catapulted into circumstances that not only challenge her budding skill, but threaten to consume her real identity.

Becoming Mrs. Mak, the bored wife of an importer-exporter, Wong slowly infiltrates the Yee household -- first by earning Mrs. Yee's (Joan Chen) confidence and then by attempting to draw Mr. Yee into an affair. But Wong discovers that her role as Mrs. Mak is not only a facade for them, but also a trap for herself. And soon she must decide whether it's more valuable to play a fake person who is trusted and loved, or a real one whom she barely acknowledges herself.

Defining oneself is a recurrent theme in many of Lee's films, from The Wedding Banquet to Hulk to Brokeback Mountain. But here, the director makes some of his most devastating observations about human nature, finding in his main character a woman who almost literally has no identity until she creates one for others. In an early scene, Wong sits in a movie theater crying while watching Intermezzo; it's a telling moment because it immediately precedes her own emergence as an actress and speaks to the connection between the fiction of a "character" and the palpable emotion it generates within her.

Later, she becomes consumed by playing Mrs. Mak, not only because she completely believes the truth of her role, but because the Yees believe as well. It makes her self-delusion that much more powerful, and when she eventually sleeps with Mr. Yee, their sex scenes are charged with deep emotional intensity because he expresses a need to reveal himself to another person and she feels the gratification of finally becoming someone. To her, convincing him she is Mrs. Mak is actually being Mrs. Mak, and it empowers her -- both emotionally and physically -- as a fully-formed person rather than the discarded daughter of an expatriate or some street urchin playing with patrician-class values.

At the same time, the real world frequently imposes its own unflinching gaze upon her gambit and reminds her that she isn't acting in some assassination play, but part of a real plot. In an early sequence that concludes her first "performance" as Mrs. Mak, Wong finds herself witness to a murder -- a sight that proves far too real and unglamorous for her to stay "in character." Later, she receives a gift that reveals Yee's love, in the process unleashing her own buried feelings. Both events reconnect her with the humanity that she always possessed, but corrupted long ago as some affected part of her role, ultimately showing her how she not only betrayed those closest to her, but herself as well.

While Wei, Leung and Leehom are all brilliant and heartrending in their respective roles, Lee is the maestro of this story and he manipulates these fragile characters to evoke sad, beautiful and profound human truths. As powerfully as Wei creates the two tenuous halves of Wong's personality, Lee pits them against each other and positions them against the character's two would-be suitors, creating a dynamic where two men are fighting for two different women in the same frail frame.

Leung's Yee is a man full of secrets, and he finds in Mrs. Mak a person in whom he can confide -- if not the sordid details of his business, at the very least his tormented feelings. Meanwhile, Kuang vows to protect the shrinking-violet Wong from harm, but fails to recognize her real identity until it is too late, as she has already succumbed to the reassuring validation of the Yees' acceptance. (Her question to him -- "Why didn't you do that before?" -- after he kisses her is one of the movie's most heartbreaking moments.) Lee exercises meticulous control of these shifting emotional dynamics to not only maximize the drama, but to properly -- and thoroughly -- examine the desperate and destructive ways that Wong has sealed her own fate.

Unsurprisingly, there are scores of moments from the film that linger in the mind's eye, but overall the appeal of Lust, Caution is not one of graphic exhibitionism (its sex scenes earned the film an NC-17) nor pastoral beauty (director of photography Rodrigo Prieto creates a brilliance that seems to emanate from within the characters). Rather, it's that the film deconstructs the very nature of acting as we know it -- creating fiction in order to explore truth -- and observes how that destroys the people who put on those facades.

In other words, Lust, Caution really isn't so radically different from Brokeback Mountain; in both cases, the characters are living lies that they desperately want to be the truth. But even if this film fails to make the same sort of immediate impression on audiences, make no mistake that it will make one that is equally lasting. The key to Lee's versatility is not that he makes so many different kinds of movies, but that he makes them all accessible -- even if it sometimes takes a little more time and effort to get into some of them than it does others.[/quote]

Por isso que teu filme favorito é Zazel.

É Fashionistas Safado: The Challenge, não The Safados. Safado é um personagem misterioso (interpretado pelo Jazz Duro) que aparece do nada e contesta a posição do Rocco como o maior estilista fetish do momento, com a nova linha Safado de vestimentas safadas.

Achei o filme meio decepcionante, já que termina com um puta cliffhanger, com o Rocco indo para Berlim procurar o Safado.

Trailer impróprio para menores de Fashionistas Safado: Berlin.

É cheia de suspense.