This is the kind of experience that only cinema can provide, and in this case it is so utterly brazen and undeniably bold that it demands an audience. Submit, dear viewers, you owe this to yourself, Belladonna of Sadness is a film that demands the biggest screen possible. Seek it out and you will be rewarded.
http://twitchfilm.com/2016/05/revie...s-a-spellbinding-work-of-carnal-beauty-1.html
But of course its impossible to divorce the films aesthetic from its text, to engage its eroticism without engaging its sexual abuses, and to ignore its studied portrayal of witchery. Belladonna of Sadness is almost scholarly, or it would be were it not so off-the-wall and cheeky. Feminine liberation, couched in the practices of witchcraft, is an act of rebellion against the oppression of patriarchal rule. To Yamamoto specifically, it is Jeannes declaration of sovereignty over the body. Yet everything about his film that is real is subsumed by everything that isnt. Ultimately, you wont walk out of the theater and consider the statements Belladonna of Sadness makes about gender equality and social protest. Youll be too bewildered waiting for the comedown.
http://www.pastemagazine.com/articles/2016/05/belladonna-of-sadness.html
Yamamoto and his team transform Michelets theory of witchcraft as a form of rebellion against political and religious oppression into an anti-authoritarian parable that combines feminist agitprop, erotic art, and the rape-revenge plotting of the eras sexploitation films. In feudal France, a young woman named Jeanne (Aiko Nagayama) defies the powers that beexplicitly connected with sexual violence and repressed desirethrough sexual pleasure and its mythological analogue, magic. Perhaps too ambitious for its own good (or at least its budget), the film is impossible to dismiss, even if it exhausts its reserve of ideas.
http://www.avclub.com/review/animated-psychosexual-freak-out-belladonna-sadness-236297
"Belladonna of Sadness" could certainly have made the same points in half the time the unceasing wail of trippy imagery begins to blur into nonsense, no matter how clever some of it may be and the wild leaps the film makes in its final moments suggest that Yamamoto was too hamstrung by pervy ticket-buyers to really make the unbridled feminist manifesto he had in mind. Still, there's an undeniable genius at work here, strong enough to survive the psychedelic sleaze that's been baked into every frame.
http://www.indiewire.com/article/be...eview-1973-eiichi-yamamoto-japanese-animation
Belladonna of Sadness is undoubtedly a landmark of animated film, and arguably a masterpiece. But its a very disquieting one. After experiencing the picture, you are left with the nagging suspicion that its retrograde ideology and its ravishing imagery are not contradictory attributes but are, rather, inextricably codependent.
http://www.nytimes.com/2016/05/06/movies/belladonna-of-sadness-review-japanese-animation.html
US screenings and NSFW trailer
http://www.cineliciouspics.com/belladonna-of-sadness/