Anatomy Of Hell

Anatomy Of Hell

2.5 2

Cast: Amira Casar, Rocco Siffredi, Jacques Monge

     
 

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A lonely and dejected woman (Amira Casar) learns that only when all inhibitions are cast aside will she be able to truly understand the truth about how men see women in this erotically charged exploration of sexuality from controversial director Catherine Breillat. Teetering on the edge of overwhelming ennui, the woman pays a man (Rocco Siffredi) to join her for a

Overview

A lonely and dejected woman (Amira Casar) learns that only when all inhibitions are cast aside will she be able to truly understand the truth about how men see women in this erotically charged exploration of sexuality from controversial director Catherine Breillat. Teetering on the edge of overwhelming ennui, the woman pays a man (Rocco Siffredi) to join her for a daring, four-day exploration of sexuality in which both reject all convention and smash all boundaries while locked away from society in an isolated estate. Only when the man and woman confront the most unspeakable aspects of their sexuality will they have a pure understanding of how the sexes view one another.

Editorial Reviews

All Movie Guide - Craig Butler
The films of Catherine Breillat tend to be challenging and unrelentingly personal, and Anatomy of Hell is no exception. Breillat's films often divide the audience into those who love them and those who hate them, but Anatomy is unlikely to find many lovers. It's not just because it dares to ask difficult questions, dares to be unpleasant, dares to be shocking; it's because it dares to be boring, dares to provide too little depth for its probing. It also doesn't help that there's no real humanity here; it's all artificial. Real people don't speak the way these characters do and certainly don't act the way they do. Stylization as a defense only goes so far, and it can't do the job in Anatomy. As a result, one grows irritated at the pretentious dialogue the leads spout and even when one is intrigued by an idea put forth by them, one loses interest because it either simply lays there or gets drowned by further inhuman mouthings. It all becomes tedious rather quickly. Amira Casar does as well as can be expected as The Woman; she has the unenviable task of not only speaking unspeakable dialogue but of having to inhabit a character that is bored with life, and it is to her credit that she pulls both tricks off so well. Rocco Siffredi fares less well dramatically, although it is clear that the porn star's physical attributes are the real reason for his inclusion in Anatomy. Speaking of which, it must be made clear that there is a considerable amount of nudity, as well as a surfeit of sexual situations. It may sound titillating, but those coming to anatomy for its sensuality should be advised that there is nothing remotely erotic about what occurs.

Product Details

Release Date:
01/25/2005
UPC:
0807839001341
Original Release:
2003
Rating:
NR
Source:
Tartan Video
Region Code:
1
Time:
1:20:00

Cast & Crew

Performance Credits
Amira Casar The Woman
Rocco Siffredi The Man
Catherine Breillat Voice
Jacques Monge Actor
Claudio Carvalho Actor
Carolina Lopes Actor

Technical Credits
Catherine Breillat Director,Asst. Director,Screenwriter
Yorgos Arvanitis Cinematographer
Frederic Barbe Editor
Pascale Chavance Editor
Emmanuel Croset Sound/Sound Designer
D'juiz Score Composer
David Dantini Casting
Pedro Garcia Garcia Art Director
Susana Gomes Cinematographer
Filipe Goncalves Sound/Sound Designer
Valerie Guegan Costumes/Costume Designer
Sylvain Lasseur Sound/Sound Designer
Jean-Francois Lepetit Producer
Miguel Malherios Cinematographer
Betty Martins Costumes/Costume Designer
Catherine Meillan Costumes/Costume Designer
Jean-Marie Milon Art Director
Carlos Pinto Sound/Sound Designer
Pedro Santos Production Designer
Pedro da Santos Art Director
Guillaume Schiffman Cinematographer
Sanine Schlumberger Costumes/Costume Designer
Paula Szabo Art Director
António da Cunha Telles Executive Producer
Michael Weill Casting

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Anatomy Of Hell 2.5 out of 5 based on 0 ratings. 2 reviews.
Guest More than 1 year ago
Having seen this movie tonight I must say I was quite shocked at the contents in Catherine Breillats "Anatomy of Hell". I personally thought it shines a light on the darker side of life focusing on the relationship between heterosexual women, "Amira Casar" and a homosexual man” Rocco Siffredi." The film did make me wonder if things like this actually go on in real life. Some parts in this film I personally thought should have been cut. There’s one specific part in this film which made me sick and unfortunately I was drinking cranberry juice unaware of what I was to see next. Some will see this film as an excuse to show tits and willies in an art house film. Others will see this film as beautiful poetry between two distinct characters - we know not their pasts, but we find that they both must discover something about themselves - since they willingly enter into a contract. This may be, on one hand, discovery about one's sexuality, and on the other, discovery of explaining one's sexuality. I am sure many others will see this simply as a pretentious effort at describing feminism. This is an argument of culture, and my view is that human culture is primarily male dominated (the few remaining matriarchal societies are being eradicated by logging :( and so many people will be offended by the content of the film. If you do choose to watch it, watch it as a combination of a documentary and poetry. If you watch this film to the end and are captured then I believe that you have experienced one or more of the aspects shown. If you are not captured, and are possibly reviled, then you are bound by our culture, and conceptions of what moving imagery should be. This is, undeniably, not a bad thing. This is, ultimately, a film of counter-culture. Catherine Breillats films are an acquired taste beware to be shocked this film.
AvraRob More than 1 year ago
Catherine Breillat's "Anatomy of Hell," like her earlier "Romance," is ultra-French, and just the sort of European import most American movie-goers will reject outright. Character- not plot-driven, moving often at a glacial pace, the camera dwells for seemingly endless moments on the near expressionless faces of the two protagonists, art-house style, during which we are expected to use out imaginations. This is not "entertainment." Sexually explicit yet not at all arousing, the film deals with the masochistic/sadistic leanings of two neurotic people, a kinky battle-of-the-sexes. What dialogue there is is often supplied by the woman in what reminds of the more militant early feminism of the 60s. Yet a well-made, well-directed film, though probably not enjoyable to anyone not already thoroughly acquainted with a good deal of Godard, Truffaut, Bertolucci, and yes, Ingmar Bergman.