1966·Comedy·2h 8m
7.1
★
A former Buddhist monk turned erotic filmmaker, Subuyan lives with hairdresser Haru and her two teenage children. Shooting two skin flicks per day, he somehow manages to stay out of the clutches of the yakuza, but real trouble starts when Haru discovers him lusting after her daughter.
Directed by Shōhei Imamura
based on novel or book
film in film
osaka, japan
japanese new wave
carp
Trailer
IMDB
N/A
Cast
Shoichi Ozawa
Subuyan Ogata
Sumiko Sakamoto
Haru Matsuda
Ganjirō Nakamura II
Shiratori
Chōchō Miyako
Brothel Madame
Haruo Tanaka
Banteki
Masaomi Kondo
Koichi Matsuda
Kō Nishimura
Detective Sanada
Ichirō Sugai
Shun Ogata
Asao Uchida
Furukawa
Kazuo Kitamura
Doctor
Taiji Tonoyama
Father
Jun Hamamura
Company Manager
Crew
Shōhei Imamura
Director
Shōhei Imamura
Screenplay
Shōhei Imamura
Producer
Shōhei Andō
Camera Operator
Noboru Tanaka
Assistant Director
Yoshihiro Yūki
Assistant Director
Popular Reviews
5 reviews
Nick
6.0★ · 02/08/25
I think there is some allegory for the state of Japan at the time and its economic recovery baked into pornographic production. But I didn’t really get that while watching. Of Imamura’s 60’s efforts so far, this cares least about its narrative and coherency. For that reason, I think this is his most nihilistic up to now. Unlike, say, Pigs and Battleships where I thought Imamura was wondering about the future and how to get somewhere better, this one feels like Imamura’s given up completely. Even the ending is snarkily self-deprecating!
Imamura has a lot to say, that’s clear, but I’m not sure he’s saying anything effectively this time. Instead, the film kinda feels like angsty shouting and vacuous rebellion. Of course, Imamura has already proven himself to me as an artist, so I don’t think he’s void of talent. But this one is just meandering turmoil.
Imamura has a lot to say, that’s clear, but I’m not sure he’s saying anything effectively this time. Instead, the film kinda feels like angsty shouting and vacuous rebellion. Of course, Imamura has already proven himself to me as an artist, so I don’t think he’s void of talent. But this one is just meandering turmoil.
I think there is some allegory for the state of Japan at the time and its economic recovery baked into pornographic production. But I didn’t really get that while watching. Of Imamura’s 60’s efforts so far, this cares least about its narrative and coherency. For that reason, I think this is his most nihilistic up to now. Unlike, say, Pigs and Battleships where I thought Imamura was wondering about the future and how to get somewhere better, this one feels like Imamura’s given up completely. Even the ending is snarkily self-deprecating!
Imamura has a lot to say, that’s clear, but I’m not sure he’s saying anything effectively this time. Instead, the film kinda feels like angsty shouting and vacuous rebellion. Of course, Imamura has already proven himself to me as an artist, so I don’t think he’s void of talent. But this one is just meandering turmoil.
Imamura has a lot to say, that’s clear, but I’m not sure he’s saying anything effectively this time. Instead, the film kinda feels like angsty shouting and vacuous rebellion. Of course, Imamura has already proven himself to me as an artist, so I don’t think he’s void of talent. But this one is just meandering turmoil.
Timothy Kandra
Impeccably shot but the story drags after the first hour.
Impeccably shot but the story drags after the first hour.
sam
6.0★ · 04/29/20
this absolutely did not need to be 2 hours
this absolutely did not need to be 2 hours
Mathias
7.0★ · 12/31/24
thomo
10.0★ · 08/09/20