からのシーン Love Crimes (1992)
シーン詳細
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このシーンの女優
詳細
別名: Mary Sean Young, شان یانگ
身体的特徴: N/A
経歴
初登場:
最も重要な役:
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受賞
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完全な経歴
Mary Sean Young is an American actress. Her breakthrough role was that of Rachael in the sci-fi Blade Runner (1982), which emerged as a significant work in popular culture; she reprised the role for Blade Runner's acclaimed sequel Blade Runner 2049 (2017). She originated the character of Chani in the sci-fi Dune (1984), led the neo-noir No Way Out (1987), played Kate in Wall Street (1987), and had starring roles in the comedies Fatal Instinct (1993) and Ace Ventura: Pet Detective (1994).
映画について: Love Crimes (1992)
公開年: 1992
別タイトル: Crímenes de amor, Любовни престъпления, Crimes de Amor, Das gnadenlose Auge, Erotika eglimata, Szerelmi bűntények, Sola con l'assassino, Zbrodnie z milosci, Fome de Sedução, Любовные преступления
監督: Lizzie Borden
脚本家: Allan Moyle, Laurie Frank
制作＆ジャンル
プロデューサー: Producer: Lizzie Borden, Rudy Langlais
Executive Producer: Forrest Murray
会社: Miramax, Sovereign Pictures
ジャンル: Erotic Thriller, Erotica, Romance, Thriller
受賞＆類似
受賞:
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キーワード
キーワード: desire, disguise, investigation, lawyer, neo-noir, photographer, scam, seduction, victim
ストーリー
An Atlanta prosecutor named Catherine (Sean Young) becomes obsessed with tracking down a sexual predator who preys on women by posing as a famous fashion photographer. The perpetrator, identified only as Bergin, targets his victims in public places and then exploits their vulnerabilities to manipulate them both sexually and financially. Catherine arranges to meet him in order to gather evidence against him. However, she finds herself drawn into his game of seduction and begins to experience her own suppressed desires. In the process, Catherine must confront her own submissive tendencies while attempting to bring Bergin to justice.
概要
Love Crimes is a neo-noir erotic thriller directed by Lizzie Borden in 1992. Set in Atlanta, the film explores themes of obsession, desire, and manipulation through its central character, Catherine, a tough female district attorney who becomes personally involved in her investigation of Bergin, a sexual predator disguised as a famous photographer. The movie is notable for its exploration of power dynamics and the blurred line between victimization and consensual encounters.