Sexploitation and Experimentation: The Many Shades of Pink Film.
There can’t be many Oscar winners who can claim a background in sexploitation filmmaking, but this is exactly the case of Yojiro TAKITA, who snatched the Best Foreign Language Film Academy Award for DEPARTURES this year. TAKITA is not the first major Japanese director to emerge from pinku eiga. Since its birth in 1962 this genre of low-budget, independent 35mm softcore sex films has nurtured its own brand of artists, anarchists and visionaries, providing a training ground for fledgling filmmakers and giving us luminaries such as Koji WAKAMATSU, Ryuichi HIROKI, Masayuki SUO and Takahisa ZEZE. And yet still the genre remains the subject of much misunderstanding and prejudice. Is it art or exploitation? NIPPON CONNECTION is proud to present some of pinku eiga’s standout titles from the past few decades, and leaves it to you, the audience, to decide.
Abnormal Family: Older Brother’s Bride, Dir: Masayuki SUO, J 1984
Blue Film Woman (Buru firumu no onna, dir.), Dir: Kan MUKAI, J 1969
Gushing Prayer (Funshutsu kigan – 15sai no baishunfu), Dir: Masao ADACHI, J 1971
No Love Juice: Rustling in the Bed (Fuwa-fuwa to beddo no ue de), Dir: Kosuke TAKEDA, J 1999
Raigyo, Dir: Takahisa ZEZE, J 1997
S&M Hunter (Jigoku no ropa 2: Kinbaku SM 18-sai), Dir: Shuji KATAOKA, J 1989
Secret Hot Spring Resort: Starfish at Night (Maruhi yu no machi: yoru no hitode),
Tears of Ecstasy, Dir: Hiroyuki OKI, J 1995