Wanda is a dominatrix who runs a gallery in a building on the Hamburg waterfront, where audiences pay for the privilege of watching her humiliate her slaves. She is a business woman who smashes sexual stereotypes and social taboos with icy self-possession and an enigmatic smile. As artist she specializes in the staging of elaborate S & M fantasies and her affairs transgress the usual boundaries of personal and professional life. Along the way she leaves her German lesbian lover, a shoe fetishist, for an American "trainee," and does more than step on the toes of the male performer who has broken the rules of the master-slave relationship by falling in love with her.

Wanda is a dominatrix who runs a gallery in a building on the Hamburg waterfront, where audiences pay for the privilege of watching her humiliate her slaves. She is a business woman who smashes sexual stereotypes and social taboos with icy self-possession and an enigmatic smile. As artist she specializes in the staging of elaborate S & M fantasies and her affairs transgress the usual boundaries of personal and professional life. Along the way she leaves her German lesbian lover, a shoe fetishist, for an American "trainee," and does more than step on the toes of the male performer who has broken the rules of the master-slave relationship by falling in love with her.

조선 시대, 사회적 악습 때문에 희생되어야 했던 여인의 삶이 네 개의 에피소드로 이어진다. 부모의 탐욕으로 대감댁에 시집갔다가 어린 신랑이 병으로 죽자 친정에 다니러 온 여인을 아버지가 살해해 열녀로 위장하는 女必從夫, 외아들과 결혼한 며느리를 시기해 누명을 씌워 며느리를 죽이는 出家外人, 아이를 낳지 못한 여자가 다른 남자에게 아들을 얻고는 자살하는 七去之惡, 상궁이 임금의 아이가 아닌 아기를 낳고 궁중에서 탈출한다는 禁中秘色의 에피소드로 이루어진다.

조선 시대, 사회적 악습 때문에 희생되어야 했던 여인의 삶이 네 개의 에피소드로 이어진다. 부모의 탐욕으로 대감댁에 시집갔다가 어린 신랑이 병으로 죽자 친정에 다니러 온 여인을 아버지가 살해해 열녀로 위장하는 女必從夫, 외아들과 결혼한 며느리를 시기해 누명을 씌워 며느리를 죽이는 出家外人, 아이를 낳지 못한 여자가 다른 남자에게 아들을 얻고는 자살하는 七去之惡, 상궁이 임금의 아이가 아닌 아기를 낳고 궁중에서 탈출한다는 禁中秘色의 에피소드로 이루어진다.

影片讲述了一家三代女炕的故事，年轻女孩有一位不想结婚的男友，中年妈妈是一位职业婚姻咨询师，但却被自己的丈夫抛弃，而她的母亲是一位性上瘾的女人。 　　幕后制作 　　2010年捷克最卖座的影片，被称为“捷克版《欲望都市》”，然而两部影片最大相似处不过在于主角都是女人。《受到诱惑的女人》是一部关于各个年龄段的女人的精神危机的影片，比起《欲望都市》多了一份阿莫多瓦式的悲喜剧色彩。共有超过100万捷克人观看了这部影片，是当年《阿凡达》观众数的接近两倍，在这个人口也仅为1000万的国家中，《受到诱惑的女人》也是第5部突游破百万人次票房的影片（续之前有扬·塞维拉克的《给我一个爸》、《深蓝世界》、《布拉格练习曲》以及扬·霍布雷克的《一屋两家三代人》）。

影片讲述了一家三代女炕的故事，年轻女孩有一位不想结婚的男友，中年妈妈是一位职业婚姻咨询师，但却被自己的丈夫抛弃，而她的母亲是一位性上瘾的女人。 　　幕后制作 　　2010年捷克最卖座的影片，被称为“捷克版《欲望都市》”，然而两部影片最大相似处不过在于主角都是女人。《受到诱惑的女人》是一部关于各个年龄段的女人的精神危机的影片，比起《欲望都市》多了一份阿莫多瓦式的悲喜剧色彩。共有超过100万捷克人观看了这部影片，是当年《阿凡达》观众数的接近两倍，在这个人口也仅为1000万的国家中，《受到诱惑的女人》也是第5部突游破百万人次票房的影片（续之前有扬·塞维拉克的《给我一个爸》、《深蓝世界》、《布拉格练习曲》以及扬·霍布雷克的《一屋两家三代人》）。

大手商社に勤める柊志(陣内孝則)は、妻・絹香(麻生祐未)と未久(三村有己)、幸太(田邊秀正)の子供2人を持つマイホームパパ。会社でも部下の北川(袴田吉彦)らに慕われていて、公私ともに順風満帆に生活を送っていた。そんなある日、妻と子供達が旅行に出かけ、柊志は仕事先のレセプション会場の下見に行くと、同社の総務でミチルと名乗る女性(雛形あきこ)とエレベーターで乗り合わせる。その後、一人で夕食を食べようとした店に偶然を装ったミチルが現れ誘惑されてしまう…。大人の関係に引き込まれる柊志だが、ストーカーと化したミチルからの脅迫に苦悩していく…。

大手商社に勤める柊志(陣内孝則)は、妻・絹香(麻生祐未)と未久(三村有己)、幸太(田邊秀正)の子供2人を持つマイホームパパ。会社でも部下の北川(袴田吉彦)らに慕われていて、公私ともに順風満帆に生活を送っていた。そんなある日、妻と子供達が旅行に出かけ、柊志は仕事先のレセプション会場の下見に行くと、同社の総務でミチルと名乗る女性(雛形あきこ)とエレベーターで乗り合わせる。その後、一人で夕食を食べようとした店に偶然を装ったミチルが現れ誘惑されてしまう…。大人の関係に引き込まれる柊志だが、ストーカーと化したミチルからの脅迫に苦悩していく…。

Constantly on the hunt and suffering from hallucinations that drive his violent nature, an unnamed man is capturing women and savagely beating them to death. Meanwhile, a woman is luring men into a violent end, by way of her knife. Driven by the same force to make the opposite sex suffer, the killers’ fates intertwine. The two must face off in a battle to the death, in which they are forced to reveal the horrible truth behind their addiction to murder. 　　“Brutal” takes an interesting approach to its visuals, drawing heavy influence from Western “Grindhouse” films, using a filter to make the footage appear grainy, damaged, and with light and color fluctuations. Unfortunately, the visual styling ends up feeling misguided, as other than applying the filter it does not imitate any other aspects of the “Grindhouse” genre. Despite trying to dirty up the film, it is apparent it was shot on digital. The cinematography is also a step above most “Grindhouse” productions, with Takashi Hirose proving he has talent behind the camera. Exterior shots to those taking place in small spaces are all competently framed, lit, and transition well. The decision to add an effect on top of the work hurts the film’s imagery and even gives a sense of desperation to try to capture a certain type of nostalgia with the audience, instead of relying on its own strengths. It is unfortunate when one creative choice can hurt a production so much. 　　The story of “Brutal” is simple but effective, it does attempt some sort of social commentary about the violent nature of men and women, but it does not offer enough depth into the subject to justify the amount of violence on display. The film does end on a strong note with an interesting twist, with a reveal that is bound to gross some out, while giving others a chuckle. In spite of its simple nature, those who enjoy films that make them somewhat uncomfortable and enjoy the challenge of getting through some ultra-violence, “Brutal” poses a fun and entertaining challenge in that regard.

Constantly on the hunt and suffering from hallucinations that drive his violent nature, an unnamed man is capturing women and savagely beating them to death. Meanwhile, a woman is luring men into a violent end, by way of her knife. Driven by the same force to make the opposite sex suffer, the killers’ fates intertwine. The two must face off in a battle to the death, in which they are forced to reveal the horrible truth behind their addiction to murder. 　　“Brutal” takes an interesting approach to its visuals, drawing heavy influence from Western “Grindhouse” films, using a filter to make the footage appear grainy, damaged, and with light and color fluctuations. Unfortunately, the visual styling ends up feeling misguided, as other than applying the filter it does not imitate any other aspects of the “Grindhouse” genre. Despite trying to dirty up the film, it is apparent it was shot on digital. The cinematography is also a step above most “Grindhouse” productions, with Takashi Hirose proving he has talent behind the camera. Exterior shots to those taking place in small spaces are all competently framed, lit, and transition well. The decision to add an effect on top of the work hurts the film’s imagery and even gives a sense of desperation to try to capture a certain type of nostalgia with the audience, instead of relying on its own strengths. It is unfortunate when one creative choice can hurt a production so much. 　　The story of “Brutal” is simple but effective, it does attempt some sort of social commentary about the violent nature of men and women, but it does not offer enough depth into the subject to justify the amount of violence on display. The film does end on a strong note with an interesting twist, with a reveal that is bound to gross some out, while giving others a chuckle. In spite of its simple nature, those who enjoy films that make them somewhat uncomfortable and enjoy the challenge of getting through some ultra-violence, “Brutal” poses a fun and entertaining challenge in that regard.