Iku iku maito gai - Seishun no mon Mon
Pink film directed by Kazuyuki Izutsu.
Pink film directed by Kazuyuki Izutsu.
Kan Mikami
Yuko Akane
Akiko Kudō
Moeko Ezawa
Pink film directed by Kazuyuki Izutsu.
A submissive hooker goes about her trade, suffering abuse at the hands of Japanese salarymen and Yakuza types. She's unhappy about her work, and is apparently trying to find some sort of appeasement for the fact that her lover has married.
Kyôko, a traumatized young Japanese girl, finds herself struggling with her self-confidence in her adult life. Growing up in a family without her mother and her sister, she constantly questions the rationale of sex and the notion of liberty in modern Japanese society.
An American journalist travels through 19th-century Japan to find the prostitute he fell in love with but instead learns of the physical and existential horror that befell her after he left.
Based on the factual case of a young man who broke into a nurses' home in Chicago, mutilating and killing several of the inmates, Wakamatsu's film is a precise, sad delineation of a particular aspect of masculine sexual consciousness.
Misaki Amemiya is an assistant inspector for the Metropolitan Police Department's Community Safety Bureau who becomes ensnared in a trap while investigating a mysterious illegal video website called "Babylon". Soon, she's bound and tortured along with Shizuko and an oversexed housewife named Ruri.
Devoted to her family’s rice-cake–making business and the high school baton club, Tamako is a little slow when it comes to love. She’s oblivious to her childhood friend Mochizo’s affections, even though all their friends know. With graduation closing in and Mochizo leaving for Tokyo, will Tamako realise her feelings and tell him in time?
The life of Tatsuya, a young man of proper yet mysterious descent, whose outward respectability hides his urges for rape and torture.
Sex & Fury chronicles Ocho's exploits as she searches for her father's killers, each identified by unique tattoos on their backs (a deer, a boar, and a butterfly). Along the way, she also crosses paths with Shunosuke, a radical set on murdering prominent politician Kurokawa, and Christina, an American spy posing as a gambler.
Subu makes pornographic films. He sees nothing wrong with it. They are an aid to a repressed society, and he uses the money to support his landlady, Haru, and her family. From time to time, Haru shares her bed with Subu, though she believes her dead husband, reincarnated as a carp, disapproves. Director Shohei Imamura has always delighted in the kinky exploits of lowlifes, and in this 1966 classic, he finds subversive humor in the bizarre dynamics of Haru, her Oedipal son, and her daughter, the true object of her pornographer-boyfriend’s obsession. Imamura’s comic treatment of such taboos as voyeurism and incest sparked controversy when the film was released, but The Pornographers has outlasted its critics, and now seems frankly ahead of its time.
The neglected common-law wife of a Japanese librarian is repeatedly harassed by a young man with a heart condition who seduces her with the prospect of a better life.