Best Asian Sex Movies

Best Asian Sex Movies
Written by Time Out Hong Kong Wednesday 11 May 2022
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Based on a famous novel, this Thai erotic-period-drama stars Hong Kong's very own, Christy Chung. Directed and co-written by Nonzee Nimibutr, the film was controversial not only in Thailand but also in the S.A.R. because of its sexual subject matter. It later spawned various versions released in 2012 and 2013 which also made the headlines. The story revolves around the protagonist Jan Dara who was born into a wealthy family in 1930s Thailand. He grew up with a father that despised him because his mother died from childbirth. Feeling rejected and looking for consolation, his predicament leads him to a life filled with sexual exploits. The film underscores incest, adultery, and betrayal set in sepia-toned cinematography, and presented through its well-crafted characters. It offers some tasteful, sensual scenes that will send temperatures soaring to tropical climes.
In The Realm of the Senses (1976) – Japan
The Christ Of Nanjing (1995) (Hong Kong/Japan)
Scorpio Nights (1985) – Philippines
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Take a peek under the sheets and uncover some of Asia's most erotic fantasies
Forget Fifty Shades of Grey, the East's own cinematic erotica offers a treasure trove of films that span various unconventional topics and underline each country's attitude towards sex, sexuality, and taboos. With plots that range from the mystical, sinister, and sometimes humorous, to the completely bizarre, you'll surely find something that will ignite your repressed carnal desires. And since these films are made locally, it eschews the somewhat offensive Western fantasy that is commonly projected to this side of the world.
Aside from Hong Kong's sensual offering to the film industry, let us take you to Taiwan, Japan, Korea, the Philippines, and Thailand through this list of Asian erotica that should be on your radar. RECOMMENDED: Change up what's on your screen with this list of the most controversial Hong Kong films of the last decade.
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No erotic Asian list would be complete without this Hong Kong erotic cinema milestone which eventually spawned numerous sequels including a blockbuster 3D rendition in 2011. Sex and Zen is a softcore sex comedy that in certain parts of the movie almost border on oddity. The story revolves around a Ming Dynasty scholar's lust and sexual rampage. It shares the same 'penile mutilation' as In The Realm of the Senses but not on a serious note, rather as part of it's outlandish humour. One of its memorable scenes, which is actually the most unerotic part of the film, is when the protagonist has a horse's genitalia surgically grafted onto his body. From this, his erotic sexual exploits begin. One thing to note, you will never look at flutes the same way again.
When it comes to erotic cinema, there are a lot of classic Japanese masterpieces, and A Snake of June is one of them. A San Marco Special Jury Award winner at the Venice Film Festival, A Snake of June is a 2002 Japanese film directed by Shinya Tsukamoto, completely shown in monochrome electric blue cinematography. It tells the story of a sexually deprived couple and a voyeuristic stranger (played by Tsukamoto himself) who manipulated the wife to uncover and exploit her hidden desires. This one is a feast for the eyes, surrealistic, voyeuristic, and can get a bit disturbing.
Gut-wrenching, visceral, and sexually explicit, this movie is one of the best erotic films ever made. Directed by Nagisa Ōshima, In The Realm of the Senses is based on the true story of Sada Abe, who murdered her lover in erotic asphyxiation in 1936. But that's not the shocking part. After her partner's death, Sada then cut off his penis and carried it around with her for days before the police found her. So, you may think you know the ending, but that's just the plot. The film is an insightful experience into an erotic work of art, with the ability to sexually arouse the viewer, but at the same time reduce the stimulation to revolt, shock, and awe. However vile and unsettling, if you finish the movie until the end with a profound understanding, you'll realise that it is a movie about love. Plus, the fact that it’s a true story, makes it a very sad one. You definitely won't forget this one.
Directed by Tony Au and starring Tony Leung Ka-fai and Yasuko Tomita – who won the best actress award at the 1995 Tokyo International Film Festival for her performance in the film – The Christ Of Nanjing is a tragic love story between a Japanese author and a Chinese country girl in Nanjing. The film tackles Christianity with Asian sensibilities, balanced with an eroticism that somehow never verges to be exploitative.
Korean erotica navigates the plashes of sexual desire and has everything from action, drama, thriller, romance, and fantasy, with some pretty absurd storylines. The story is about a woman who lives in a remote lake selling goods to fishermen by day and prostitutes herself at night. Her conflict begins when she becomes obsessed with a former police officer haunted by the past of murdering his girlfriend. This movie made quite a stir when it premiered at the Venice Film Festival as it left people vomiting and fainting while watching the film. Sounds intriguing? Yes, it's compelling and grotesque, a movie that is hard to forget once you’ve watched it. Set in a cinematic and poetic landscape, the movie is beautifully laid out and if you go past the dark misery behind all its characters, it's almost calming to watch.
The Taste of Money is a controversial R rated Korean movie that caused a stir for its representation of the wealthiest families in South Korea. Grappled in sex, money, and greed, the film orbits around an ageing powerful businessman Chairman Yoon (Baek Yun-shik) who is leaving his wife Baek Geum-ok (Youn Yuh-jung) because he fell for a Filipino maid Eva (Maui Taylor). Peppered with lavish sets and the decadence of the rich and famous – it's all beautiful to look at. Watch it for sheer entertainment, and if it's the raunchy scenes you're after, don't worry there's a whole lot of it to look forward to.
Crafted by the late Peque Gallaga, a multi-award winning director who was instrumental in shaping local Philippine cinema, Scorpio Nights is one of the most controversial films of its time and one of the best Filipino erotic films ever made, catapulting a sexy Filipino film into a work of art. The story is about a man who watches his neighbour's – a security guard and his wife – sexual deeds from below his floorboards. Wrestled by desire and lust, he eventually gave in and started an affair with the wife until the husband caught them. Its provocative execution has been copied many times but has never been matched. This one is a must-watch on your Asian erotica watchlist.
Hollywood’s most titillating films like Fifty Shades of Grey tops the box office in Singapore, but it's local audience are simply not interested in locally made sensual flicks hence there's a scarcity of Singaporean erotic films in the market. But it doesn't stop directors from pushing the boundaries and exploring this genre that is rarely consumed by a local audience. Directed by Eric Khoo, In the Room is one of the few erotic films that dared to air in the market but was not granted commercial release because the director didn't want to cut certain explicit scenes. However, it was allowed release in 2016 after an international version was polished and masks some scenes with special effects. The movie is a multi-story erotic drama that spans several decades – starting in 1942 during the surrender of the British to Japanese troops up to the present time – and is set in room 27 of a fading grand Singaporean hotel. The film represents various kinds of characters from different eras that include an inter-racial middle-aged gay couple, a band who uses the hotel for orgies and drugs, nubile women learning about their sexuality, a May-December love affair, and a woman's quest for the elusive orgasm. While it rated poorly in cinema reviews, it's still worth checking out, as it's the first of its kind in Singaporean movie history.
Here’s our pick for Hong Kong’s top 10 sexiest movies.
A roundup of the best hotels in the city to book your next romantic and sexy staycation.
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Post author

By Anton Bitel

Post date

November 30, 2015

Tags

10 Films , Asia , asianmovies

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Erotic films navigate the oceans of sexual desire, no matter whether that desire is frustrated and repressed or messily fulfilled. It is a category that spans the space between explicitness and restraint, between romance and pornography.
Here are ten films from countries of the East Asian region—chiefly Japan, but also Hong Kong, South Korea and Taiwan—that in their different ways explore erotic themes. They also, as home-grown products, avoid the sort of hurtful orientalist fantasies that Westerners have been inclined in the past to project onto the Far East.
The real Sada Abe became a cause célèbre in 1936 after she was found wandering the streets of Tokyo in 1936 with, hidden in her kimono, the severed penis of her lover Kichizo Isdhida whom she had erotically (and fatally) asphyxiated four days earlier. From this scandalous slice of reality, Nagisa Oshima has crafted an uncompromisingly hardcore—and often banned—study in sexual obsession, which also serves as an allegory of the insularity and madness of Japan’s phallocentric, self-destructive imperialism in the build-up to its explosive wartime climax . Here, as so often in Japanese erotica, love and death make strange, but close, bedfellows.
Adapted from the 17th-century Chinese erotic novel The Carnal Prayer Mat , with a bit of horseplay from Apuleius’ The Golden Ass thrown in for good measure, Michael Mak’s “Sex and Zen” shares severed penises and vagina-dipped foods with “In the Realm of the Senses,” but offers itself as a censor-stirring softcore sex comedy that traces a young lothario’s sexual misadventures after he has a horse’s dick surgically grafted onto his body. The Zen comes in the film’s repentant, moralising conclusion, but its effect is rather undermined by the gleeful presentation of all that precedes. The period naughtiness would be resurrected in many sequels.
In many ways the polar opposite of “In the Realm of the Senses” and “Sex and Zen,” Wong Kar-wai’s millennial moodpiece looks back to colonial Hong Kong of 1962 (and then 1966), where two neighbours (Tony Leung, Maggie Cheung) form an intense bond after discovering that their respective spouses are having an affair. The question of whether they do or do not have sex in room 2046 (which also happens to be the last year that Hong Kong will remain autonomous from mainland China) is hidden in layers of elegance and nostalgia, cheongsams and lingering cigarette smoke, all orchestrated to the stately tones of Michael Galasso’s score. This is the eroticism of restraint, where desire remains forever buried in secrecy, and in the past. It is also the story of a divided nation, with the body politic inscribed on two almost lovers kept apart.
A man on the run (Kim Yoo-suk) takes refuge on a fishing boat, and after a suicide attempt is nursed back to health by the boat’s mute keeper (Suh Jung), who soon has her hooks in him. Kim Ki-duk’s study of isolated characters and marginalised experiences takes for its focus an extreme sadomasochistic relationship (modulated through the imagery of fishing), and finds ways to make its characters’ fugitive desires become part of the watery landscape. “The Isle” is not for the squeamish, but then, love rarely is.
Colour-filtered in a monochrome electric blue—the colour of both eros and melancholy—Shinya Tsukamoto’s film traces a bizarre love triangle between an unsatisfied woman (Asuka Kurosawa), her older, inattentive clean-freak husband (Yuji Kotari), and a voyeuristic outsider (Tsukamoto himself). A tripartite mystery that drips with sexual tension, “A Snake of June” is all at once erotic thriller, through-the-keyhole peepshow, schizophrenic psychodrama, X-ray view of human pathologies, and strange romance, with looking, longing and loss locked in its surreal waltz.
Like “A Snake of June,” most of the films made by Tsai Ming-liang feature near endless rains, but “The Wayward Cloud,” Tsai’s sort-of sequel to “ What Time Is It There? ” (2001), is set during a prolonged Taipei drought, with the only fluid on offer coming from watermelons or from bodies (often at the same time). Here the search for water suggests a deeper longing, and our pornstar hero’s quest for lost love leads to the floodgates being opened in a shocking climax of liquid release. Along the way, there is bizarre comedy, hardcore sex, and the odd musical number…
There is more singing and dancing in “Underwater Love,” Shinji Imaoka’s softcore musical curio in which an aging woman (Sawa Masaki) rediscovers life and love with a supernatural water creature known as a kappa (Yoshiro Umezawa). This film was shot fast and cheap—and it shows—but it comes with two unique selling points: cinematography from “In the Mood for Love”’s Chris Doyle, and a scored by French-German synth duo Stereo Total (whose lyrics, written for an earlier, very different draft, now relate to events only in the abstract). Also, not every pinku eiga portrays Death itself as a chain-smoking, bandana-wearing, beskirted dude who can be averted with the insertion of a magic “anal pearl.”
A down-on-his-luck producer (Chapman To) works on a never-seen, entirely fictitious sequel to the Shaw Brothers’ very real Seventies softcore smutfest Confessions of a Concubine—and so Pang Ho-cheung’s “Vulgaria” becomes a self-consuming movie about movie-making itself, with a film-within-a-film frame that affords plenty of opportunity for clever-clever reflexes and fourth-wall breaches. This scabrous behind-the-scenes commentary on the Hong Kong Category III sex comedy certainly lives up to its title—but amidst all the animal pussy-eating and candy-assisted cock-eating, there is also plenty of postmodern cake-eating.
Also a postmodern sex comedy of sorts, but decidedly weirder, Hitoshi Matsumoto’s “R100” concerns a meek, middle-aged salaryman (Nao Omori) who sheepishly signs up for a gentlemen’s BDSM club, only to find his professional and personal life being invaded by a variety of leather-clad dominatrices (each with her own special powers). As both his masculine and maternal sides are unleashed in unusual ways, this everyman’s strange adventures in pain and passion inspire an argument between bewildered censors, unsure what rating is merited by the film that they—and we—are watching. The results are a hilariously transgressive Ode to Joy, where orgasm is all in the mind.
Kei Morikawa has directed over 1000 films, though you probably have never heard his name, because all his work has been for the Japanese porn market. His first attempt at feature fiction, “Makeup Room” draws on his vast experience of the business to recreate the off-set area where five actresses (played by real adult video stars) prepare for a chaotic porn shoot with imperturbable makeup artist Tsuzuki (Aki Morita), and reveal their industry’s inner workings. Made on a skinflick’s non-budget, this is frank, funny metaporn, slyly exposing erotic cinema as just another job that exploits its workers’ rivalries, vanities and anxieties.

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