Tag: Pinku
After Purima Kikaku’s success with their three “Document Porno: Sukeban” films they would move onto a new format for their next attempt at the sukeban genre – the “semi-document”. Whereas the document porno films would portray the action as a mockumentary accompanied by a narrator to sell the illusion of reality; “Semi-Document: Sukeban Bodyguard” would
Following WW2, censorship laws were relaxed in Japan, and this along with an import of American culture led to an industry of sexually charged pulp magazines called “kasutori magazines” (kasutori was the name used for low-quality liquor, similar to moonshine, and became used to refer to all kinds of culture held in low regard). These
After helping to kickstart sukeban cinema in 1970, Nikkatsu would largely retire from the genre in 1971 after the lacklustre performance of “Bad Girl Mako”, leaving Toei unchallenged in their pinky violence dominance. However, in 1973, a fresh entry would come courtesy of the small studio Purima Kikaku. Purima Kikaku would exclusively make low-budget porn
It’s hard to remember when the “women’s prison” subgenre was iconoclastic, given its popularity these days. But, before we had series like Orange is the New Black, Vis a Vis, or Wentworth, we had the Japanese Prisoner Scorpion films. Though the genre first appeared during the silent era, it was often simply considered exploitation, with
The genre, now referred to as “Pinky Violence”, would absolutely dominate cinema in the early 70’s, which was largely helmed by Toei in their focused attempt to pump out many popular films to quickly and cheaply as possible to meet their quota of two new films every fortnight in order to obtain exclusivity contracts with
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
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
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
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
Female Prisoner #701: Scorpion is a 1972 Japanese exploitation flick of the ’70s, closely tied into the ‘Pinku eiga’ genre for the flippant erotica, with all the tropes of a grindhouse installment – unabashed violence, casual nudity, exaggerated villains, and farcical action. Campy as they are wild, these films are frequently a guilty pleasure to