Rijndri Load of rubbish!!

Phonearl Good start, but then it gets ruined

FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Kinley This movie feels like it was made purely to piss off people who want good shows

manuel corbelli I'm sorry, this is no "Noberu Baku" arty film most people expect it to be: amateurish (ok, it was probably made on a very low-budget string), the montage is mostly horrible, characters are more or less psychologically flat. Frankly speaking, i would call this a pretentious, and kind of disturbing, b-movie. On the ethic i heard this is supposed to be sensitive while dealing with delicate issues like child molestation and sexual abuse in general, yet actually it isn't but a quite obvious exploitative flick showing some classical Japanese s/m, that is naked bodies of women wrestling and whipping each other, and an immature yet bothersome depiction and look upon child abuse. Just little brain and little heart in this movie. To be watched only if you are interested in obscure Japanese new wave movies (i do love this period of Japanese cinema) or if you are kinky enough to be seduced by the violent Japanese imagery of humiliation and abuse. P.S.: can't they just screw like "normal" people? ;o)

haildevilman Well who says the Japanese can't do French? A long slow-paced drama about a man with a past. A past that screws up his potential romances. Apparently his father was a bad man and now he can only talk to loose chicks.The core is about first love in general. Most of us have dealt with it. This is how this one guy tries to.The filming is sehr arty and you know the dialogue was deliberate. The pace reminds one of a student film at times and the camera-work was good for the seemingly non-existent budget.I saw this on video years ago and saw it again in Tokyo during an art house revival. I wish it were better known.This is one you can take your lady to as well.

tedg You may find this hard to see. It is a Japanese "new wave," film. It has a story of course, but such things are largely irrelevant. I'll give it because you may not see it. (In my comments, I assume most folks have seen the film.)A young man was abandoned as a child, and continuously molested by his adoptive father. He falls "in love" with a prostitute, around the same time he is imprisoned for molesting a four year old girl. We follow him and the prostitute (actually a "model") separately; that's most of the film, timewise. The story ends tragically.Its shot with hand-held cameras, and even by today's standards the camera movements are obviously there to remind you that there is a camera present. Not your eyes, but a physical camera.Following the French notion, the "new wave" ideas are followed: the fact that it is a film is explicit and films are referenced throughout the thing. And the elements of the story are abstracted — usually from the most raw and common experience, love — into something synthetic, which only can exists in cinema. These two elements were thought by the French create a new film narrative: not using the camera to place you in life, but the other way around, using life to allow you to travel to a new place, abstract, pure and effective within its own rules.That French experiment collapsed, I think, because as a class, French intellectuals don't have much horsepower, so after we get the cleverness of us being placed in this synthetic world, we look for a reason to be there other than tourism from boredom. The Japanese, on the other hand, actually live is an abstract world, deliberately so. And its of much the same type — less now than 40-50 years ago (unless you count manga). By this I mean that the narrative they live in is close to the one they imagine, and they've had 1500 years of continuous stylization to abstract the narrative into a coherent collection of edges.So when I encounter Japanese new wave films, or better, those that quote and extend the concept, I know I'm where the idea wanted to be, but was couldn't go there with its originators.This one isn't powerful in the way the HongKongers Wong Kar Wai and Fruit Chan do, but it has oompf if you allow for the amazingly noticeable proscription on pubic hair — but that's part of the game.Along the way, we have all sorts of side stories, as if they were movies within the movie. Some are flashbacks that are movies in the mind. Others are of the same type, but everyday events: a pocketknife is dropped; a foil gumwrapper blows in the wind.And these are interspersed with overt films within. We have a film about first love our lovers attend. She is a model for filmed stories, always pornographic (but indicated here as topless cheesecake because of the censorship) and often violent. He purchases a record designed to have a conversation with him. Much of the action touches on or is in a graveyard, shown as a collection of storymarkers for the dead.An item that permeates is a riddle. If you peel a cabbage, you get a core. If you peel an onion, what do you get? The film is intended to be a peeling of the onion. You'll need to watch the film (or email me) to get the answer to the riddle.Ted's Evaluation -- 3 of 3: Worth watching.

patonamu An insecure guy falls in love with a young nude model.But his past sexual abuse hinders him of loving inhibitedly. He meets a little girl in the park instead... The story isn't that linear and that's why the freely linked episodes of this film just takes you on a shaky underwater rollercoaster ride. Beautiful camera-shots, excellent editing, great music, great acting...