US 102m, Colour Director: Brett Wood; Cast: Jane Bass, Bryan Davis, Veronika Duerr, Sandra L. Hughes, Ted Manson, Daniel May, Rob Nixon, Lisa Paulsen, Daniel Pettrow, Rachel SorsaNamed after Richard von Krafft-Ebing's infamous 1886 "medical text" of the same name, Psychopathia Sexualis is a documentary-style narrated period re-enactment based on hundreds of late nineteenth century case studies of sexual behaviour. Once considered authoritative, these clinical writings are interwoven into a number of vignettes which obliquely suggest that some of the doctors should have also looked at their motivations. Potentially more interesting than entertaining, this Victorian sexual history unfortunately lacks direction and an overall sense of purpose, and largely misses much of the real story – the treatment and mistreatment of the patients documented in these writings (Klaus Ming September 2013).

bought this film through an independent film distributor as i had seen the trailer on their website and was intrigued to see more. i don't remember too much of this film as i found myself being bored early on into the plot. the production was beautifully shot and lit but that was about it. the only aspect of the film that had me remotely interested was the focus on homosexuality for both men and women. the mini story line about a governess, lydia, who was developing a strong attraction to her charge, annabel was intriguing while it lasted. the love scene was tastefully done and it didn't end tragically. unfortunately that's all i can recall.

A cinematic adaptation of the studies of sexual deviancy by Richard von Krafft-Ebing, Sigmund Freud's mentor and the major precursor to Kinsey's studies. The film is structured after the silent documentary Häxan (aka Witchcraft Through the Ages), and kind of mimics the visual styles of silent horror films and German Expressionist films, albeit in vibrant color cinematography. Most viewers seem to have found the film dull, but I really liked it. It's fascinating to be transported to Victorian times, and the film doesn't do too much winking to demonstrate that it's own mores are modern. It mostly feels worn and dated. The one thing that I think will pull most people out of the film is the acting, but I don't think it ought to. It's mediocre, to be sure, but with cinematic recreations like these, I think the performers' woodenness works in the film's favor. It reminds me a lot of Guy Maddin, and perhaps is influenced by his work. The two elements that should be especially praised are the art direction and the musical score. It looks beautiful, and sounds beautiful. I think director Bret Wood, if he's given more chances after this fascinating experiment, might turn out to be somebody really special.

I expected mere titillation for the sake of exploitation ...which is partly why Krafft-Ebing challenges his readers to understand... he coined the term "masochism" and explains how exploitation, or the feeling of being exploited satisfies one's desires, however these selfish desires and their abstractions---not just coitus for procreation---but the odd fetishes; weird and irrational things that humans combine with touch, taste and their associations with pleasure, is what Krafft-Ebing explored. But in Krafft-Ebing's time the patriarchal model of thinking dominated every-body's behaviors, and the idea of Men and Women with different needs was completely new territory. Krafft-Ebing sought to understand these things, like his first pupil, Sigmund Freud and so should you.About the movie, a few things stand out for me---besides Wood---the marionette and old-tyme, rotating diorama scene performed by Rob Nixon. If one only listens to the narrator, one will be repulsed, but Nixon's puppetry made it a lovely scene ...until you focus on the narrator again. Such delightful revulsion. Such a brilliant contrast. Speaking of weird contrasts, the scene shot on the train was technically abominable... whites blown-out and actors look green. What happened? Most other scenes are really well done, lighting, set and decent editing. I really enjoyed how the camera work made me feel like a voyeur on these people's lives.Basically, the writer/director, Bret Wood takes an artful Victorian approach to exposing hidden recesses within the minds Kraft-Ebbing considered deviant. Most every quirk gets screen time, but blood-lust was the primary fluid of compulsion. I avoided focusing on this by counting how many behaviors were abnormal in the Victorian Age, and by comparison acceptable in modern times. It must have been a demanding task for Wood to sort through all the kinks from the book.His book, a precursor to Kinsey's reports and the DSM, Krafft-Ebing explored various psychologies and how they deal with sexuality and desires. And I appreciate how Wood tied stories together with themes. Most interesting for the "people-watcher" or scientist. Voyeuristic; in a very mythical way, and its interesting to see people's motivations to satisfy desires. Honest portrayals of people's perversions, bawdy lusts and vile corporal behaviors---all the more condemnable because of the time period. Yet, I found a few actors unconvincing in their performances. Blah. But on the whole, scenes carried well from subject to subject, and in the end, there is some clear explanations about people's sexuality. This was good drama with an academic arch of learning. The ending was unexpected and left me with more questions than answers.A brilliant feminist author, Camille Paglia once said in "The Joy of Presbyterian Sex--Sex, Art, and American Cutlure, Essays", published Vintage Books, 1992, p.32 she wrote "Life without guilt or shame would be found only in sociopaths and the lobotomized."