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Love - Zero = Infinity Hisayasu Sato, 1994

A teacher from the country comes to Tokyo, has his heart broken, and then in the fallout of that becomes a drifter and spends his days following people around. And then one day someone asks him to follow his wife around, and see what she's up to. Turns out she's a vampire killer. Or something. All the characters wander around the streets of Tokyo, out of the step with the world, scuzzy creations who are slaves to their own desires, and exist in the fringes of society. Two young punk lovers chase the ultimate high by injecting themselves with each other's blood. One kills her lovers and drains their blood as some sort of revenge. Another has AIDS (and this film is apparently the first one in the history of Japanese cinema to ever bring up the subject) and falls in love with the woman he tails. Is this Dracula done by some low-rent gutterpunk Cronenberg? Who knows? Sato is apparently one of the Four Heavenly Kings of Pink, and his filmography is full of sleazoid items that highly intrigue me (Lolita Vibrator Torture? Uniform Punishment: Square Peg in Roung Hole!?, Office Lady Rape: Devouring the Giant Tits? Sign me up!). But what matters most is that just one from film you can sense a true sensibility at work. It's not a very pretty one, but I'm looking forward to watching more from this guy.


Tue Oct 09, 2012 2:29 am
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Upcoming: KOJI WAKAMATSU


Thu Oct 18, 2012 11:54 pm
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saw it coming

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Fri Oct 19, 2012 12:07 am
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Running in Madness, Dying in Love Koji Wakamatsu, 1969

The film opens with footage of student protests, thereby situating the story in the political context of the day (it wouldn't be a Wakamatsu film without something like this). Our main protagonist fights the cops, gets his head beaten, and runs back home. His brother happens to be a cop and once he gets home they get into an altercation. Somehow the brother's wife kills the brother. And then we're off. Wakamatsu's widescreen shots are expertly composed, often keeping the main characters at a distance, almost so we don't forget what each of them represent. There's an interesting dynamic between the wife and the younger brother At first, the wife is ready to sacrifice herself and atone for her sin, but the more time she spends on the road with the brother, the more she allows herself to think other thoughts. There are these great sequences all throughout that have the image of the main couple naked superimposed over another image of the couple just walking together through the streets, being together. There are also all these great passages where the guilt of everything just overwhelms them completely, and their lovemaking cuts away to these b&w images of the husband pawing at the wife's breasts or something - the hotel rooms just temporary stops for these people whose lives have more or less paused or something. The film's final moments have strange, troubling implications; we thought we had smashed the state, the patriarchal system, but here it is, ready to take power again. What happens when we abandon the radical future and maintain the status quo? So, yeah, it's pretty good.


Sun Nov 04, 2012 12:51 pm
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It sure is.


Sun Nov 04, 2012 6:45 pm
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I just had the awful realization that I've watched four films from this thread now, without commenting here. I'm a terrible person.

Go, Go Second Time Virgin – I thought this one was terrific, though it's hard to explain why. The color shifts, the awesome music... Everything was so bizarre yet inevitable, cold but intense. I thought the deadpan acting was perfect, since they were dead inside.

Running in Madness, Dying in Love – Was this really pinku? It's an interesting story, with psychological depth. That scene on the beach, where they witness the village 'justice,' was haunting, and the end is horrifying and inexplicable, like a nightmare where you can't move to save your life.

School of the Holy Beast was really entertaining. Not exactly art, like the first two, though, but fun.

Wife to Be Sacrificed was kind of disappointing all around.

I'm so sorry I didn't comment before. I'll do better in the future.

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Wed Dec 05, 2012 1:38 am
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"not exactly art" pfft!

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Excitement Class: Love Techniques (Noboru Tanaka, 1972)

The film's opening credit sequence is arguably the film's high point - it's a vision of pure unadulterated teenage desire. The young man at the heart of the film imagines how he could completely dominate and possess his teacher and lose himself in the act of surrendering himself to that passion, but then he opens his eyes and finishes, and reality comes back rushing in. The whole sequence is fantastic, and the rest of the film can't quite live up to how it works as pure cinema. So, that's the kind of film we're dealing with: one where a young man's sexual obsession turns increasingly dangerous and troubling. Apparently the teacher has a fiancee, and our young man makes it his mission to break up their engagement. This includes a weird assault in a restroom where he drinks toilet water and proceeds to spit it on his teacher's chest and then sort of motorboat her tits? Can't say that's ever worked for me. The whole thing's disturbing, often comedic, and never less than fascinating. But it wouldn't be as good as it is without the film's final movement. I imagine if this were a typical pink film, the film's final coupling would be a sort of victory or just one more sex scene, but this film is a little too smart for that (comparatively speaking, of course). The teacher, that not so obscure object of desire, is a grown woman who has no interest in these little kids; she also has her own goals. The film's ending is not a fulfillment of the adolescent fantasy, but rather a display of the teacher's agency. She uses him for her own purposes, and doesn't give in to the narrative that she's supposed to. It's very interesting. Also gave me boners. So yeah.


Sun Jan 27, 2013 5:19 am
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Your write-ups are annoyingly compelling.

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Sun Jan 27, 2013 5:21 am
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as are his boners


Sun Jan 27, 2013 5:59 am
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Survey Map of a Paradise Lost (Hisayasu Sato, 1988)



Hisayasu Sato's films are: first, highly perverse; second, frequently downbeat; third, probably not as good as I think.

Sato's style is much more exact than it would get in LOVE - INFINITY = ZERO. Instead of using hand-held, Sato will cut to find new perspectives. It's still unclear at what point he changed his aesthetic, but the difference between the films is significant enough that it warrants mentioning.

The story's a bit of a mess; character relationships and motivations are pretty much ignored for most of the first half of the film (most of the first 20 minutes are dominated by sex scenes). And, in the back half, most of the exposition is dumped on the viewer. Two main characters are dispatched off-screen, and we only hear about it through the news (though we do flashback to it later on). The film also ends on a weird, strange explanation (ala PSYCHO) that supposedly changes the meaning of the main character's actions, though it comes off like a really mordant punchline.

What makes the work of interest is Sato's unflinching depiction of people's extreme behavior. The main character's sinking depravity (he frequently ties up the women he sleeps with, cuts them, and in one highly troubling scene uses a soda bottle in an interesting way) affects everyone around him. His wife gets hooked on some pills that she got in order to deal with the bruises and pain. The young call girl frequently thinks about suicide.

Sato, in a strange way, might be a kind of moral filmmaker. Like Ferrara, his characters stare at the abyss. He sees the potential for brutality and pain inside of all his characters. Most damning is the way that he has the reporter character, seemingly neutral and good-hearted, casually dream about reenacting the behavior of the main character on the young call girl.

But, I'm guessing the maker of LOLITA VIBRATOR TORTURE could also just be really into this stuff.


Fri Jun 14, 2013 1:45 pm
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Fri Jun 14, 2013 1:47 pm
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Amazing thread and I'll definitely join in on the game when I'm back from vacation next month. In the meantime, here's the last pinku I watched before going (only have NSFW screens with me so this'll be without visual aid, sorry!)

Momojiri musume: Pinku hippu gaaru (1978) Ohara Kôyû | Nikkatsu, Japan | Pink Tush Girl | 7.5/10
A unique and special pinku that I really enjoyed. It's rather soft for a pinku in terms of its emotions, with a lot less violence, force, and other "extreme" emotions. Though that's not to say it's a lighthearted or easy film, it's full of a lot of emotional turmoil, just under the surface and with more consent. Don't let the pervy and somewhat seedy name fool you: This is a masterfully subtle and downplayed film.


Love the love for Satô as well. His films sort of remind me of Cronenberg in the way they show what feels to me like very cold sexuality (mixed with carnal desires for violence) via modern alienation, but I'm mostly basing this on Splatter: Naked Blood, which, while not really a true pinku, is a brilliant film.


Sat Jun 15, 2013 5:45 pm
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Welcome, new person!

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Sat Jun 15, 2013 5:53 pm
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Haha yes, I would have introduced myself but couldn't find a thread. I was Żelkowo for anyone here from The Life Cinematic.


As another quick addition, my current top five of the genre:

Yuke yuke nidomi no shojo (1969) Wakamatsu Kôji | Wakamatsu Production, Japan | Go, Go Second Time Virgin
Iyarashii hitozuma: nureru | (1994) Satô Hisayasu | Kokuei Company, Japan | Love - Infinity = Zero
Bôkô Kirisaki Jakku (1976) Hasebe Yasuharu | Nikkatsu, Japan | Assault! Jack the Ripper
Shirobara gakuen: Soshite zen'in okasareta (1982) Ohara Kôyû | Nikkatsu, Japan | White Rose Campus: Then Everybody Gets Raped
Seijû gakuen (1974) Suzuki Norifumi | Toei Tokyo, Japan | School of the Holy Beast (crosses nunsploitation with pink film and the result is among the best of two delicious worlds)


Sat Jun 15, 2013 5:55 pm
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Has ANYONE else seen Tokyo Decadence

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Sat Jun 15, 2013 9:37 pm
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It's in my to-watch pile.


Sat Jun 15, 2013 11:23 pm
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Been a good year for pink film watching, though I didn't really write about many of them.

Erotic Diary of an Office Lady (Noboru Tanaka, 1977) (fascinating film)
Secret Chronicle: She Beast Market (Noboru Tanaka, 1974)
Ecstasy of the Angels (Koji Wakamatsu, 1972) (lol revolutionary politics, okayish film)
No Love Juice: Rustling in Bed (Yuji Tajiri, 1999) (this was a complete surprise, so good)
Blind Love (Daisuke Goto, 2005) (very interesting)
Love Hotel (Shinji Somai, 1985) (Somai's contribution to Roman Porno, pretty fantastic)

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Empty Rooms (Toshiki Sato, 2001)

The film's opening image of a woman alone in a room, overhearing the moans from the women next door and trying to masturbate, tell us what kind of film we're in. Just like Sato's 2002 film, The Lost Virgin, this film isn't so much interested in eroticism as it is in depicting the empty, emotionless lives of its characters.

There's a sense of disillusionment to everything in this film. Nothing is going the way that it's supposed to go. A husband waits for his wife to finish having sex with another man. A wife goes dancing with another man just to feel something. Does this outfit still look good on me?, back pain, domesticity: these are not sexy subjects and Sato shoots them with a distant, often static camera in order to leave the acts unadorned. Sato's film is a little sad, a little funny; it watches patiently as its characters try to regain control of their lives.

This is a lovely, understated work.


Sun Nov 24, 2013 9:22 am
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Sun Nov 24, 2013 9:28 am
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roujin wrote:
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Sold. Your words helped, too. :)

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Sun Nov 24, 2013 9:35 am
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i think this is my favourite thread on here that i've seen so far. love you roujin. koji wakamatsu is one of my favourite directors.

watched street of joy a few nights ago and loved it.

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Sun Nov 24, 2013 11:52 am
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just watched love-zero=infinity and it was cool. so many neat shots. i'll start adding my own recs soon enough cause i can probably fill in some gaps here and there but i'm really enjoying going through some of the titles in here.

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"your review shows me only that you dont understand anything about movies and that you are a untalented wanna bee filmmaker with no balls and no understanding what POSTAL is. you dont see courage because you are nothing. and no go to your mum and fuck her …because she cooks for you now since 30 years ..so she deserves it." — Uwe Boll


Wed Nov 27, 2013 6:02 pm
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Nice that you enjoyed it. The Woman with Red Hair is the only Kumashiro that I have absolutely no reservations about it, but Street of Joy was good.

That Sato film is creepy as hell. Still have many others to watch.


Fri Nov 29, 2013 1:00 pm
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i have a bunch of pinku related bookmarks on cg, dunno what ones you've seen or not.

http://cinemageddon.net/details.php?id=142271
http://cinemageddon.net/details.php?id=141730
http://cinemageddon.net/details.php?id=141441
http://cinemageddon.net/details.php?id=141348
http://cinemageddon.net/details.php?id=138539
http://cinemageddon.net/details.php?id=128770
http://cinemageddon.net/details.php?id=117783

cg has A LOT of pinku movies but a lot of them are either pinky violence or basic softcore movies, neither of which i have too much interest for.

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"your review shows me only that you dont understand anything about movies and that you are a untalented wanna bee filmmaker with no balls and no understanding what POSTAL is. you dont see courage because you are nothing. and no go to your mum and fuck her …because she cooks for you now since 30 years ..so she deserves it." — Uwe Boll


Fri Nov 29, 2013 10:19 pm
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Have seen none of those, but a lot of those are directors I'm planning to catch up with.


Sat Nov 30, 2013 11:55 am
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Damn, those all look great, thanks.

I downloaded Satô's Office Lady Rape Disgrace and Horse and Woman and Dog after the CG freeleech and they look awesome. Gotta go through all of his available stuff soon, everything on CG looks great.

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Sat Nov 30, 2013 2:08 pm
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It's hard to track the development of some of these directors since so many of their works remain unsubbed or available in terrible editions. The holy grail for me is Tatsumi Kumashiro's Bitterness of Youth, which I don't even think is a pink film, but has no English subs right now.


Sat Nov 30, 2013 2:35 pm
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haha yeah a lot of the pink films on cg say something like "NO SUBS (but you didn't come here for the dramatic story anyway, did you?)"

uhh yeah, i did

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"your review shows me only that you dont understand anything about movies and that you are a untalented wanna bee filmmaker with no balls and no understanding what POSTAL is. you dont see courage because you are nothing. and no go to your mum and fuck her …because she cooks for you now since 30 years ..so she deserves it." — Uwe Boll


Sun Dec 01, 2013 12:15 am
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Figured this thread needed a bump soooo...

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Soft Skin (Hisayasu Sato, 1998)

Focusing on two families, Sato analyses the stark difference between them. One family is uptight and cold to one other (leading to deaths within the family) and the other family is dysfunctional and revolves around a mother who attempts to make sense of it all. Despite the dramatic plot, the whole thing is actually quite light hearted and very humourous -- I actually burst out laughing quite a few times at the insanely rigid father and his over the top reactions to everything. This is a weird mix of comedy, roman porno and pinky violence. I liked it a lot.

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Love Hotel (Shinji Somai, 1985)

The only other Shinji Somai feature I was familiar with was Lost Chapter of Snow which is a recent favourite of mine. So naturally I was pretty excited to see how a pinku film by him would pan out. Again, totally mesmerizing. Can this guy do a long one take or what? Beautiful acting, beautiful characters, beautiful cinematography. The film was written by the same writer who did Gonin so it's steeped in my favourite things.

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Angel Guts: Red Classroom (Chusei Sone, 1979)

This is supposedly one of the more popular pinku movies but it has a faint difference in tone to the others. The skeleton of the movie is still very much in line with the other assembly line Nikkatsu studio stuff but the eroticism is ramped up tenfold, leaving behind a film that's not as layered and as thoughtful as some of the others. Shame, as this is the most subdued one of the series that I've seen thus far. Exploitation... but subtle exploitation.

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Hard Scandal - Sex Drifter (Noboru Tanaka, 1980)

A high school boy becauses infatuated with a girl who helped him shoplift and then rapes her. It's like some weird punk pinku film but with that forgoes the emotional complexity and artful eroticism and is replaced with abrasive biker gang orgies. Definitely falls into the category of pinky violence than roman porno. Fun but not something I'll ever think about again.

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Tue Feb 18, 2014 11:34 am
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Don't mean to necro this thread, but a Google search turned this board up as the most up-to-date and direct resource for talking to someone else regarding Pink Films. I can't really find a comprehensive archive or point of reference beyond this thread.

I'm trying to find the film to which this scene belongs (NSFW):

http://i.imgur.com/WDYAWVW.jpg

http://i.imgur.com/PXqAEJn.jpg

The woman in red was walking into a house when she heard a scream, rushed in, and saw the girl in bondage. She rushed over to help her before being jumped by the men.

Anyone seen this, by chance?


Fri Apr 01, 2016 4:40 pm
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