← Back to results
Beautiful Sisters: Flesh Slaves
美姉妹肉奴隷
1986 70 min Japan 16+
★7.1
Horror, Thriller
Director: Katsuhiko Fujii
Trailers
RU
RU
RU
RU
Description
A man on the run from the police takes two sisters hostage in their dental office apartment. He makes himself at home sexually abusing them and getting food service. But the sisters are resilient and quietly develop a plan for revenge.
Starring
Rei Akasaka
Actor
Megumi Kiyosato
Actor
Isao Nonaka
Actor
Awards
Golden Globe 1987
— Best Picture (Comedy or Musical)
Academy Awards 1987
— Best Supporting Actor
Academy Awards 1987
— Best Supporting Actress
Academy Awards 1987
— Best Supporting Actor
Academy Awards 1987
— Best Supporting Actress
Academy Awards 1987
— Best Screenplay
Academy Awards 1987
— Best Picture
Academy Awards 1987
— Best Director
Academy Awards 1987
— Best Production Design
BAFTA 1987
— Best Director
BAFTA 1987
— Best Picture
BAFTA 1987
— Best Actress
Golden Globe 1987
— Best Screenplay
BAFTA 1987
— Best Film Editing
César Awards 1987
— Best International Feature Film
Golden Globe 1987
— Best Supporting Actress
Golden Globe 1987
— Best Director
BAFTA 1987
— Best Actor
BAFTA 1987
— Best Supporting Actress
BAFTA 1987
— Best Original Screenplay
Key opinion
Hannah and Her Sisters is widely regarded as a quintessential Woody Allen film that balances intellectual wit with poignant, everyday family drama. While some viewers criticize its lack of narrative momentum and find the characters self-indulgent, others praise its emotional resonance and sharp observations on the complexities of human relationships.
| Acting | The ensemble cast, featuring Mia Farrow, Dianne Wiest, and Barbara Hershey, provides consistently strong and memorable performances. | |
| Screenplay | The screenplay masterfully weaves existential inquiry with sharp, self-ironic dialogue that remains the film's strongest asset. | |
| Production | The film's atmosphere perfectly captures a specific, intellectualized vision of New York, supported by a warm jazz soundtrack. | |
| Pacing | The film functions as a collage of life episodes, leaving viewers divided between those who find the vignette-style structure intimate and rewarding, and those who feel it lacks necessary cohesion and narrative dynamism. | |
| Acting | Woody Allen’s presence in the film is divisive, with some finding his recurring 'melancholy loser' persona charming and essential to the tone, while others view it as repetitive and unoriginal. | |
| Theme | Opinions on the film's depth are split, as some see it as a profound exploration of Chekhovian family dynamics, whereas others perceive it as a superficial depiction of privileged, neurotic intellectuals. |