by ImportAlt

The Japanese “pink eiga” films form perhaps one of the most idiosyncratic phenomena in the whole of international cinema. Conceived to entice male audiences with erotic content, the genre also attracted numerous young directors who bent it to their will and created some of the most radical, avant-garde works in Japanese film. A considerable number of the Japanese directors most well-known today took their first steps with “pink film.” What’s less well-known is that one of the driving forces behind the “pinku eiga” genre is actually a woman, who was concealed behind the male pseudonym Daisuke Asakura. With its “Pink Tribute to Keiko Sato”, the Forum is showing three of the producer’s most original films. Atsushi Yamatoya wrote his absurdly titled 1967 film Inflatable Sex Doll of the Wastelands in parallel to his script for Seijun Suzuki’s classic Branded to Kill, to which the former work undoubtedly forms a twin of sorts. For Masao Adachi, 1971’s Gushing Prayer was one last attempt to couch social critique in sexually provocative form, before he turned his attention to political activism. Finally, the most recent work in the series is the debut film by Masayuki Suo, who later landed one of the biggest hits in Japanese film history with Shall We Dance. Abnormal Family from 1984 is his tribute to Yasujiro Ozu, who for all the stylistic similarities would hardly have been pleased by the degree of sexual permissiveness.

„Pink Tribute to Keiko Sato“ #1

(Kôya no datchi waifu)
a pinku eiga by Yamatoya Atsushi
Japan / 1967 / 86 minutes

Yamatoya wrote the script to this 1967 film parallel to Seijun Suzuki’s classic Branded to Kill, to which the former work forms a twin of sorts. A monochrome, hallucinatory proof for how flexible the pink film formula could be in its first decade.

„Pink Tribute to Keiko Sato“ #2

(Funshutsu kigan: 15-sai no baishunfu)
a pinku eiga by Masao Adachi
Japan / 1971 / 74 minutes

The most formally radical pink film from the most politically radical director to work in the field: sexual frenzy as social criticism, formed by the spiritual vacuum in the wake of the failed 60s student movements. Later Adachi joined the radical Japanese Red Army.

„Pink Tribute to Keiko Sato“ #3

(Hentai kazoku: aniki no yome-san)
a pinku eiga by Masayuki Suo
Japan / 1984 / 63 minutes
The debut film of the director of the inter-national hit comedy SHALL WE DANCE. With his far-from-typical family story diverging from every norm he takes a bow to the filmic style of legendary Yasujiro Ozu. Witty and entertaining as no other in the history of pinku eiga.

„Pink Tribute to Keiko Sato“ #4

(Burū firumu no onna)

a pinku eiga by Kan Mukai
Japan / 1969 / 80 minutes

One of the very first full-colour pink films, BLUE FILM WOMAN looks like it is making up for lost time. The director Mukai Kan was one of the early trailblazers in the field of pinku-eiga alongside his contemporaries Wakamatsu Koji and Watanabe Mamoru.

„Pink Tribute to Keiko Sato“ #5

(Shakuhachi Benten)
a pinku eiga by Masayuki Suo
Japan / 1970 / 70 minutes

Inspired by Toei’s popular late-60s Red Peony Gambler female yakuza series. The director Watanabe Mamoru belongs to the first wave of directors, alongside Wakamatsu Koji, Yamamato Shinya and Mukai Kan, to make their names as auteurs in the early pink genre.


Rapid Eye Lab @ Rapid Eye Movies
With its in-house digitalisation of 35mm and 16mm prints Rapid Eye Movies brings analog films back to life. All films of the “Pink Tribute to Keiko Sato” were remastered in 4K by RAPIDEYELAB from the best available 35mm positive print. The philosophy throughout this process is to preserve the original viewing experience from the specific period that this film was made. The mono / stereo Soundtrack was remastered from the original 35mm optical track. The films natural grain has been untouched.

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