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Guilty of Romance

Guilty of Romance

Thriller · Horror · Mystery · 2011

While police investigate a woman found dead in a derelict love hotel, a romance novelist's wife lives a life that seems simply a daily repetition without romance. To escape the loveless monotony, she follows her desires and becomes a nude model. Soon, she meets a mentor and begins selling her body to strangers, while at home, she hides behind the façade of the doting wife.

Movie details

Guilty of Romance

“Love is hell.”

2011 Thriller · Horror · Mystery 2h 25m

Critical arithmetic

One number, for now.

TMDB

6.9 / 10

Community rating

While police investigate a woman found dead in a derelict love hotel, a romance novelist's wife lives a life that seems simply a daily repetition without romance. To escape the loveless monotony, she follows her desires and becomes a nude model. Soon, she meets a mentor and begins selling her body to strangers, while at home, she hides behind the façade of the doting wife.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Guilty of Romance?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Sion Sono

Written by

Sion Sono · Mizue Kunizane

Makoto Togashi

Makoto Togashi

Mitsuko Ozawa

Megumi Kagurazaka

Megumi Kagurazaka

Izumi Kikuchi

Miki Mizuno

Miki Mizuno

Kazuko Yoshida

Satoshi Nikaido

Satoshi Nikaido

Masao Yoshida

Kazuya Kojima

Kazuya Kojima

Shoji

Kanji Tsuda

Kanji Tsuda

Yukio Kikuchi

Ryuju Kobayashi

Ryuju Kobayashi

Kaoru

Court is in session

Put Guilty of Romance on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.