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New prostitutes Susan, Fanny, and Chinyun are inducted into the Fragrance House brothel where they are trained in the ways of lovemaking by their veteran madam Tall Kau. Eventually all three enter circulation where Susan is crowned the top prize and becomes enamored of budding scholar Chu Chi-Ang. Fanny is jealous beyond all means and though she's bought by famous horse trader Sir Lui, she still plans her revenge on Susan.
New prostitutes Susan, Fanny, and Chinyun are inducted into the Fragrance House brothel where they are trained in the ways of lovemaking by their veteran madam Tall Kau. Eventually all three enter circulation where Susan is crowned the top prize and becomes enamored of budding scholar Chu Chi-Ang. Fanny is jealous beyond all means and though she's bought by famous horse trader Sir Lui, she still plans her revenge on Susan.
The film primarily explores apolitical themes of human desire, pleasure, and the individual consequences of excess within a fantastical setting, rather than explicitly promoting or critiquing a specific political ideology or societal structure.
The film utilizes casting traditional to its Hong Kong production and historical Chinese setting, without incorporating explicit race or gender swaps of roles. Its narrative does not engage in critical portrayals of traditional identities or center on explicit DEI themes, focusing instead on its genre conventions.
The film portrays Buddhist figures, often monks, as hypocritical and easily swayed by carnal desires, using their depiction for comedic and erotic subversion of religious piety. The narrative's stance is to satirize traditional religious institutions rather than to affirm or respect the faith.
Sex and Zen III does not feature any identifiable LGBTQ+ characters or themes. The film's narrative is entirely centered on heterosexual relationships and sexual exploration, leading to an N/A rating for LGBTQ+ portrayal.
The movie does not contain any action or adventure elements.
The film features characters like Golden Lotus, Ximen Qing, and Wu Song, who are derived from classic Chinese literature and previous adaptations. Their on-screen portrayals maintain their canonically established genders, with no instances of a character's gender being changed from their source material.
The film is a Hong Kong production based on a Chinese literary tradition, featuring a cast and characters consistently portrayed as East Asian. There is no evidence of any character being established as one race in prior canon or history and then portrayed as a different race in this film.
Combines user and critic ratings from four sources