As an adult film that anthropomorphizes and extremizes "furniture" into sex tools, HNTRZ-017, beneath its seemingly crude and boundary-pushing depictions of violence, actually hides deeper themes of "objectification" and "erosion of humanity." This work portrays furniture not only as physical space decorations but also as a symbol of a "desire object" that can be arbitrarily manipulated and consumed. Through extreme erotic symbols like "meat urinal," "urination," and "creampie," it exposes the alienation in modern society's interpersonal relationships and desire exchanges. First, the film's title directly points to the rampage of desire with a plethora of extreme training vocabulary like "urination" and "deep throat irrumatio," prompting reflection on scenes that nearly "furniturize" female subjects: they are no longer independent beings but become "containers of sexual desire," subject to the owner's arbitrary control in space. This setting is an extreme projection of the "objectification of women" in contemporary consumer society, similar to how artist Marina Abramović uses the body as a medium to reveal the interplay between power and the body, while the film uses sex as a manifestation of power and a symbol of submission. Furthermore, from a psychological perspective, the film's setting where "all furniture is female" hints at the fear and desire of "alienated self": when human relationships are simplified to pure tool exchanges, even the most intimate emotions are degraded to objectified exchanges and consumption. This situation echoes the widespread "sense of alienation" in modern urban life, as stated by Frankfurt School's Horkheimer and Adorno, where capitalist society further erodes genuine connections between people through commodification. The violence and insulting depictions in the film appear on the surface as the ultimate release of desire, but in reality, they conceal contradictions regarding "freedom" and "control." Women are "hung" on clothes racks and possessed by furniture, symbolizing the "possessiveness" and "dominance" of desire, where sex becomes the most direct expression of power games. This extreme form of relationship echoes the multi-perspective truth narration in Akira Kurosawa's film "Rashomon"—desire and power are often hidden beneath the surface but can never completely erase their real influence. In summary, HNTRZ-017 is not just an adult work; it is more like a mirror reflecting the crisis where the boundaries between humans and objects are blurred in modern society. When "furniture" becomes a synonym for desire, we are compelled to rethink the dilemmas that "humanity" faces in the tide of objectification. As philosopher Heidegger said: "The essence of human existence lies in its relation to the world, not merely in using or being used." This film reminds us that even in the most absurd expressions of desire, the dignity of body and soul should never be forgotten.