Director and screenplay: Ishii Takashi
Photography: Sasakibara Yasushi, Yamamoto Yoshiaki
· Dan Mitsu (Naoko)
· Mamiya Yuki (Naoko at 17)
· Nakano Tsuyoshi (Fujita)
· Nakajima Hiroko (Naoko’s mother)
· Takenaka Naoto (Daigo)
· Yashiki Hiroko (Kinoshita Keiko)
· Nakayama Shun (Narumi)
Production: Ohmori Ujikatsu of Kadokawa Pictures
Running Time: 118 minutes
Release Date: September 21, 2013
Official Site: www.amai-muchi.jp/
At seventeen, Naoko was abducted by a neighbor, who kept him tied to a basement, for one month for all kinds of punishment. Returning full of blood at home, after killing her torturer, her mother welcomed her coldly, almost feeling guilty of it. Today, Naoko works as a gynecologist but, still obsessed with his traumatic experience, leads a double life. In the evening, having gone to find her mother, a sick terminal in the hospital, takes the name of Serika and attends an exclusive S & M club, where she meets wealthy clients taking on the role of a slave.
The terrible misadventures of women seized by men and subjected to abuses of all kinds are a recurring situation in the Japanese B series cinema, as evidenced by the scandalous Guinea Pig series (seven titles between 1985 and 1992) and the less erratic Perfect Education (Seven titles, between 1999 and 2010, including those signed by Wakamatsu Kōji, Kobayashi Masahiro and Fukasaku Kenta).
Ishii Takashi, referring to a novel by Ohishi Kei, offers us his version here. As an author of manga, Ishii played an important role in the revival of Japanese filmmaking in the 1990s with films such as Shinde mo ii (Original Sin, 1992), Nūdo no yoru (A Night in nude, 1993) – two erotic thrillers Great formal elegance, both presented at the Turin festival – and above all with Gonin (1995), Gonin 2 (1996) and Furizu ni (Freze Me, 2000). In the 2000s, Ishii seems to have lost part of his creative outfit, rewriting himself in the shooting of his initial achievements (Nūdo no yoru: wa oshimakuubau, A Night in Nude: Salvation, 2010) and Gonin sāga (currently in post production) , Or venturing into his (perverse) sexual obsessions, bondage films, and S & M, such as Hana to Hebi (also released in Italy under the title Flower and Snake, 2007) and this Amai muchi, who also relies on the presence of Dan Mitsu, a new star of Japanese erotic cinema.
Formally unobtrusive, thanks to a hot photograph, common to all of his films, Amai Muchi is built on a narrative plane through a frequently-shifted and present-day editing (Serika in the S & M club experiences the experiences of her teenage seizure) and a Narrative voice – at the limit of invasiveness – that expounds the protagonist’s thoughts, fears and obsessions. The underlying assumption is somewhat discounted: Serika’s masochism is nothing more than a tragic consequence of the violence suffered by young Naoko. And many of this does not seem to be a pretext for creating long scenes between erotic – masturbation in the bathroom – the pervert-pornographic – club sessions – really outstripped (the film has a much longer duration Than that of ordinary erotic movies). Perplexity more than shared, but they can not take away some of the merits of the film, including: the scene of Naoko’s return home who realizes the wall that has been created between her and her mother; The encounter with the ‘real sadistic’ interrupted several times by the ringing of the cell phone through which a nurse tries to communicate to the protagonist the death of the mother; The mystery of the ‘sweet taste’ Naoko is looking for in the S & M club (which will only be revealed at the end); The horror finale and the latest shot where something / someone prevents Serika from ‘killing’ Naoko.