Setsuhiko Kobayashi
Nagano has had a sickness of the heart for 40 years and has been hospitalized at the mental hospital in Fukushima. However, during the evacuation when the Great East Japan Earthquake hit on March 11, 2011, knowing that he’s already completely healed, he makes his way back out to into the world. Having been hospitalized from when he was in his teens until his fifties, his story is like that of Urashima Taro, the Japanese fisherman who went beneath the sea as a young man and returned to an unfamiliar world. However, his heart from long ago is for the first time full of feelings to meet the woman he loved. Before long, Nagano learns that the woman has taken refuge in Tokyo and lives with her son and his wife, and sets out on a bike headed for Tokyo.
Sex Machine tells of the affable but simple Hiroshi, who during one sweltering summer in a small, parochial town, moves in with his girlfriend, Haruka. Their lovemaking is as athletic as it is bizarre but a dark storm comes looming when Haruka's ex boyfriend comes knocking at the door.
After the death of his wife, Yukio has become more and more paranoid, believing that he is being followed and watched at all times. Yukio's late wife, before her death, was seeing and sleeping with another man. Not only did Yukio know about the affair, he would watch them have sex. Unbeknownst to his wife, his peeping on her became like a fetish. As the film progresses, Yukio goes to see a counselor to try and figure out his phobia and discover his deep repressed thoughts about his wife. In comes Akemi, Yukio's ex-girlfriend from almost a decade prior. Akemi is unhappy with her marriage and seeks the warm embrace of Yukio, which only furthers his descent into madness.
Taro Suwa plays Murakami, a cab driver whoever partner Mayumi has gone missing. He fears that she could have run off with another guy (and that is partly the actual situation, as she had been knocking off both her manager and also another Sawai, colleague, regarding the part) - or gotten into difficulty by involving by herself with a 'telephone relationship club', a solution which hooks up strangers trying to find easy, anonymous sex, no concerns asked. However, neither among these are the situation: in fact (and this is not spoilertastic, since this occasion requires location in the first eight mins of the movie), she has been murdered by a morose lady that has on a daily basis job at the beauty hair salon which his wife worked at. After offing Maria inside her living-room, she dispassionately chops the body up in the bathroom and later on, after using her daughter to college, she deposits the remains into several disparate trashbins around city.
Takahashi moves into a new apartment after a divorce and as she tries to settle in, finds that she is having strange and violent dreams and weird things keep happening in her apartment. Her neighbour likes to listen to her through the wall, and becomes increasingly sensitive to her thoughts and feelings. A scientist father and son also live in the building; the son has an obsession with prosthetic body parts.
No Good Men follows Kumiko, a young and attractive woman that works at a travel agency, and moonlights as an insatiable, sex-hungry mistress.
Cult director Hisayasu Sato explores the sexual exploits of several women through the adventures of a young girl, who's fled her sexually abusive father, and an unhappy housewife. Looking for a fresh start, the women find each other, steal a bag of money and try to escape their pasts. In their flight, they encounter everything from adult babies to sword-wielding madams.
Cult filmmaker Hisayasu Sato's second comedy of the year, this silly softcore effort stars pretty Nao Kikuchi as a young married woman who takes a job at a call-girl agency with the mistaken belief that it is a maid service. After she is raped on her first assignment, Kikuchi is understandably shocked, but quickly warms to her new career and becomes quite the professional. Unfortunately, her husband soon discovers the true nature of her work.
A convicted rapist, Ikuo is released from prison and goes in pursuit of the woman he raped, Mieko. So obsessed is he with revenge he sees her in every woman he meets. After carrying out vicious attacks on a prostitute and a young girl he finally comes face to face with her.
A complete change of pace for cult pinku-eiga filmmaker Hisayasu Sato, this softcore farce set in a women's clinic looks more like one of Siggi Gotz's German romps than a film from the director of OL Renzoku Rape: Kyonyu Musaboru or Kamen No Yuwaku. The zany antics include the misadventures of a voyeuristic nurse, an exhibitionistic patient, a doctor and nurse who engage in S&M, a hypochondriac, and a lesbian nurse who sleeps with the patients.
A harrowing S&M roughie from erratic cult filmmaker Hisayasu Sato, this gay-themed pinku-eiga entry deals with an abused man who literally turns into an insect. Naturally, Sato borrows heavily from Franz Kafka's {-Metamorphosis} and several of his other works, but the overall effect is far more Sadean than Kafkaesque.
