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Adapted from the same infamous ancient text as the popular 1992 opus Sex and Zen, this film. Mei Yeung-sun is a man of letters who is less than thrilled with his sex life with his comely young wife Ti Yuk-xiang. Yet when Mei uncovers the family sex manual, their physical relationship improves considerably. So successful is the transformation that the two spend all of their time in the sack, much to the consternation of the girl's father. Later, Mei leaves home supposedly to become an official in the big city. In fact, Mei really plans to troll around the countryside and have sex with as many women as possible. Thanks to the advice of master thief Tsoi Kwun-lung, Mei visits a noted doctor and leaves the place with a massive newly installed penis. Brimming with cocksure confidence, he soon seduces lonely housewife Yim-fong. Her thuggish husband Kuan Low-si soon gets his revenge.
Adapted from the same infamous ancient text as the popular 1992 opus Sex and Zen, this film. Mei Yeung-sun is a man of letters who is less than thrilled with his sex life with his comely young wife Ti Yuk-xiang. Yet when Mei uncovers the family sex manual, their physical relationship improves considerably. So successful is the transformation that the two spend all of their time in the sack, much to the consternation of the girl's father. Later, Mei leaves home supposedly to become an official in the big city. In fact, Mei really plans to troll around the countryside and have sex with as many women as possible. Thanks to the advice of master thief Tsoi Kwun-lung, Mei visits a noted doctor and leaves the place with a massive newly installed penis. Brimming with cocksure confidence, he soon seduces lonely housewife Yim-fong. Her thuggish husband Kuan Low-si soon gets his revenge.
The film explores human sexuality and desire through its narrative, focusing on the complexities of carnal experiences rather than explicitly promoting a specific political ideology or solution. Its primary aim is an artistic and explicit exploration of human nature, rendering its political stance largely neutral.
The film features a cast that reflects its cultural context, providing visible diversity without explicitly recasting traditionally white roles. Its narrative does not center on or explicitly critique traditional identities in a DEI-driven manner.
The film frequently depicts Buddhist monks and institutions as either hypocritical, succumbing to worldly desires, or as offering an impractical path to enlightenment in the face of human nature. The narrative often satirizes attempts at strict asceticism, portraying them as ultimately futile or leading to misery.
The film 'The Carnal Sutra Mat' does not feature any identifiable LGBTQ+ characters or themes. Its narrative is solely centered on heterosexual relationships and sexual escapades, resulting in no portrayal of queer identity.
The film 'Yu Pui Tsuen' (1986) does not feature any identifiable transsexual characters or themes. Its narrative focuses on erotic comedy and heterosexual relationships, with no elements pertaining to transgender identity or experiences.
The movie does not contain any action or adventure elements.
This film is an original story, not an adaptation of pre-existing material with established characters. Therefore, no characters exist whose canonical gender could have been swapped.
The Carnal Sutra Mat (1987) is an original Hong Kong film, not an adaptation of pre-existing material with established character races, nor does it feature historical figures. Therefore, no characters can be identified as having undergone a race swap from a prior canonical or historical depiction.
Combines user and critic ratings from four sources