I would’ve liked it if most of Joe D’Amato’s films looked like this, to be honest. The way Hong Kong is shot feels so dreamlike and serene even with the looming tension of Tinti’s obsessive wealthy playboy lingering in the background as Gemser’s “exotic dancer” starts living with his snake-loving older brother as her sugar daddy. It’s a nice enough little film that’s about obsession and desire and the lengths one goes to obtain what they covet, but it’s marred by clear orientalism which one could probably just expect at this point from exploitation film that was filmed in Asia, to be honest.
I would’ve liked it if most of Joe D’Amato’s films looked like this, to be honest. The way Hong Kong is shot feels so dreamlike and serene even with the looming tension of Tinti’s obsessive wealthy playboy lingering in the background as Gemser’s “exotic dancer” starts living with his snake-loving older brother as her sugar daddy. It’s a nice enough little film that’s about obsession and desire and the lengths one goes to obtain what they covet, but it’s marred by clear orientalism which one could probably just expect at this point from exploitation film that was filmed in Asia, to be honest.