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.
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.
