Pinku Eiga, the taboo territory for many enthusiasts of Japanese Cinema. What exactly is it? Are these pictures merely exploitation flicks? Where to begin with the genre? Let’s explore the intricacies of steamy tales straight from Japan together with Jasper Sharp, a film historian and the author of “Behind the Pink Curtain: The Complete History

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Assault Jack The Ripper

Discs save the day during this pandemic thing, but once it’s over, it’s back to the theatres, right? Cinemas are an integral part of our cultural identity. Nothing can beat the ritual of going to watch a film in a theatre, especially when you’re seeing something people are hesitantly or even reluctantly drawn to, like

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Dad, I’m going to make big money. I’ll get revenge on Uchiyama. I’ll avenge mother’s death! Mark my words. The second movie from the Pink Films Vol. 3 & 4 set, apart from Abnormal Family: Older Brother’s Bride (1984), is Kan Mukai’s Blue Film Woman from 1969. Evidently, this particular motion picture greatly differs in

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Let me tell you what my father told me: “Marriage will not give you instant happiness. It’s wrong to assume that marriage will bring nothing but happiness. Don’t wait for happiness to come to you, you must create your own happiness. Marriage does not mean happiness.” I think it is fitting to begin this review

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Female Prisoner #701: Scorpion is a 1972 Japanese exploitation flick of the 70’s, closely tied into the ‘Pinku eiga’ genre for the flippant erotica, with all the tropes of a grindhouse instalment – unabashed violence, casual nudity, exaggerated villains and farcical action. Campy as they are wild, these films are frequently a guilty pleasure to

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