In the Realm of the Senses (French: L'Empire des sens, Japanese: 愛のコリーダ, Ai no Korīda, "Bullfight of Love") is a 1976 erotic art film written and directed by Nagisa Ōshima. It is a fictionalised and sexually explicit treatment of a 1936 murder committed by Sada Abe. An international coproduction of France and Japan, the film generated great controversy at the time of its release. The film had the involvement of pink film luminary Kōji Wakamatsu as co-screenwriter and assistant producer. While intended for mainstream wide release, the film contains scenes of unsimulated sexual activity between the actors (Eiko Matsuda and Tatsuya Fuji, among others).

In 1936 Tokyo, Sada Abe is a former prostitute who now works as a maid in a hotel. The hotel's owner, Kichizo Ishida, initiates an intense affair that consists of sexual experiments and various self-indulgences. Ishida leaves his wife to pursue his affair with Sada. Sada becomes increasingly possessive and jealous of Ishida, and Ishida more eager to please her. Their mutual obsession escalates until Ishida finds that she is most excited by strangling him during lovemaking, and he is killed in this fashion. Sada then severs his penis. While she is shown next to him naked, it is mentioned that she will walk around with his organ for four days before being arrested while smiling radiantly. Words written with blood can be read on his chest: "Sada Kichi the two of us forever."

The film explores themes of sexual obsession, power dynamics, and the blurred lines between violence and love, representing extreme consequences of resistance to social repression.

The film was released under the title of In the Realm of the Senses in the U.S. and the U.K., and under L'Empire des sens (Empire of the Senses) in France. The French title was taken from Roland Barthes's book about Japan, L'Empire des signes (Empire of Signs, 1970).

The original Japanese title Ai no Korīda was later reimagined as the title of the 1980 funk song "Ai No Corrida", originally recorded by Chaz Jankel and later brought to success by Quincy Jones in 1981.

Strict censorship laws in Japan would not have allowed the film to be made according to Ōshima's vision. This obstruction was bypassed by officially listing the production as a French enterprise, and the undeveloped footage was shipped to France for processing and editing. At its premiere in Japan, the film's sexual activity was optically censored using reframing and blurring. A book with stills and script notes from the film was published by San’ichishobo, and in 1976 the Japanese government brought obscenity charges against Ōshima and San’ichishobo. Ōshima testified in the trial and said. "Nothing that is expressed is obscene. What is obscene is what is hidden." Ōshima and the publisher were found not guilty in 1979; the government appealed and the Tokyo High Court upheld the verdict in 1982.

In the United States, the film was initially banned upon its premiere at the 1976 New York Film Festival but was later screened uncut, and a similar fate awaited the film when it was released in West Germany. It was also banned because of a scene in which Kichi pushes an egg into Sada's vagina, forcing her to push it out before Kichi eats the egg. The film was not available on home video until 1990, although it was sometimes seen uncut in film clubs.

At the time, the only European country in which the film was banned was Belgium. The ban was lifted in 1994, and Belgium has not censored a film of any kind since.