One of legendary "pink" director Hisayasu Sato's first of over 50 examinations of love and sex among the dregs of society, this downbeat picture deals with a sleazy rapist (Taketoshi Watari) who starts a doomed romance with a sullen teenage reject.

This film explores the lives of several disenfranchised urban residents, including a woman whose sole companionship comes from her erotic attachment to a mannequin, a man hired to rape women, and other assorted victims of urban alienation.

A complete change of pace for cult pinku-eiga filmmaker Hisayasu Sato, this softcore farce set in a women's clinic looks more like one of Siggi Gotz's German romps than a film from the director of OL Renzoku Rape: Kyonyu Musaboru or Kamen No Yuwaku. The zany antics include the misadventures of a voyeuristic nurse, an exhibitionistic patient, a doctor and nurse who engage in S&M, a hypochondriac, and a lesbian nurse who sleeps with the patients.

“Hana-Dama”—a flower in the wasteland. This flower is a symbol of earthly desires and every human is overwhelmed by desire and their rationality collapses wherever the flower is in bloom. And even today, the “Hana-Dama” continues to blossom profusely somewhere in the world. The story is set in a film theater, the facility keeps on closing one after another during recent years. The last day has come to a film theater which has been maintained by a film-loving owner, the staff, and their unique audiences. The symbol of human desire, “Hana-Dama,” blossoms at the theater and instigates people’s erratic behavior. Upon facing its closure, tremendous chaos that will be noted in the history of Japanese film takes place within this film theater.

An abusive psychologist enjoys torturing and abusing his wife. After rough sexual session of pain and dominance she decides to leave her husband. Then her masochistic twin sister arrives and of course plenty of kinky sexual torture and bondage happens next.

A deranged doctor lives in an abandoned hospital together with his wheelchair-bound daughter. Frustrated by normal women's perceived imperfections, the doctor kidnaps them and subjects them to sadistic tortures to turn them into subservient women for his childlike daughter to play with.

Lesbian-themed tale of a schoolgirl who entices her gullible (not to mention slightly warped) female teacher by positing that they are predestined to dance together on the day the world ends. The screenplay was titled "The Gods Have a Nervous Breakdown," which should give some idea of the symbiotic descent into psychosexual dementia that ensues. Rei Takaki co-stars with Shoichiro Sakata and Asako Shirakawa. (Robert Firsching, All Movie Guide)

本作は22歳の若さでこの世を去った天才画家であり詩人の村山槐多の作品に魅せられた現代の若者たちが、村山の作品を独自の解釈で再生させ、時代の突破を試みる“アヴァンギャルドエンタテインメント”。タイトルの由来は村山の友人・高村光太郎の詩「強くて悲しい火だるま槐多」だ。劇中では、村山の「尿する裸僧」という絵画に魅入られた法月薊（のりづき・あざみ）が、道行く人に「村山槐多を知っていますか？」とインタビューしていたところ「私がカイタだ」と答える謎の男に出会う。その男、槌宮朔（つちみや・さく）は、特殊な音域を聴き取る力があり、ある日、村山が過去から語り掛ける声を聴く。度重なる村山の声に神経を侵食された彼は、自らが村山槐多だと思い込むようになっていた。

A harrowing S&M roughie from erratic cult filmmaker Hisayasu Sato, this gay-themed pinku-eiga entry deals with an abused man who literally turns into an insect. Naturally, Sato borrows heavily from Franz Kafka's Metamorphosis and several of his other works, but the overall effect is far more Sadean than Kafkaesque. As with Sato's previous forays into gay themes (Kurutta Butokai and Kamen No Yuwaku), Nikkatsu studios didn't want their name associated with the project, so they released it under the imprimatur of ENK, their Osaka branch. Shotaro Sawada stars with Osamu Fukada, Setsuhiko Kobayashi, and Toru Matsumura.

Young and beautiful germophobe Ritsuko moves into a picture perfect neighborhood with her parents, being monitored by a research team who want to cure her of her debilitating phobias. Will her new neighbors be able to cure her of her irrational view of the outside world, or will coming face to face with this fairy-tale setting only drive her further inside of her subconsciousness?

This is one of cult filmmaker Hisayasu Sato's most disturbing and powerful pinku-eiga films, taking the soft-core sex genre into the perverse psycho-Sadean world of the Anglo-American literary trend often referred to as "splatterpunk." Following cosmetic surgery to enhance her breasts, an office worker is raped. The rapist's son, after setting his distinctly Oedipal gaze on his father's busty victim, locates her and they begin an ill-fated sadomasochistic affair that leads to a bloody killing spree. Needless to say, this is definitely not entertainment for the squeamish

Sato's re-imagining of In a Grove, on which Rashomon was based. In this version, instead of a web of lies and agendas, we get a web of desires, perversions like incest, and occult phenomenon like an oracle-demon, hallucinations, and human sacrifice. Once again, the story starts with a detective trying to unravel the story of a man and a woman encountering a bandit-rapist in the woods, but the real story keeps turning out to be unfathomable as layer upon layer of strange motives and events keep turning up.

Cult director Hisayasu Sato teamed up with actor-screenwriter Taketoshi Watari once again for this raunchy tale of a family driven completely mad by rock music. The mother does half-nude aerobics until her son rapes her, and the daughter falls into bed with a female teacher. Despite the shocking goings-on, the film is much more in keeping with Sato’s usual themes of alienation and corrupted innocence than its brutal predecessor.

One of approximately two dozen films in the Chikan Densha series, this one from legendary "pink" director Hisayasu Sato (here working under the pseudonym Hisakazu Hata) is much tamer than his usual sadistic gorefests, perhaps thanks to female screenwriter Kyoko Godai. A suicidal woman (Yumika Hayashi) decides to blow herself to pieces with dynamite on her birthday, but falls in love with a young delinquent on the subway instead. While decidedly nihilistic in tone, Sato's fans may be disappointed that there is nary a rape, whipping, or bloody tooth extraction in sight. Koichi Imaizumi, Kiyomi Ito, and Yuri Ishihara co-star.

This bizarre pinku-eiga entry from cult director Hisayasu Sato combines modern technology and parapsychology against a backdrop of rapes-for-hire and sadistic softcore sex. As usual in Sato's films, the center of the story is an alienated young man desperate to find a way to pay his bills. Financial relief arrives in the form of anonymous e-mails directing him to rape women for money, photographing the crimes as evidence of his work. Sordid as his new job may be, the aspiring rapist seems to have solved his financial woes, until a plucky young psychic uses her extrasensory powers to solve the case. Sayoko Nakajima stars in the Shintoho release (fresh from toplining the first two films by the studio's rising star director Takahisa Zeze), along with Toru Nakane, Aiko Shindo and Kiyomi Ito. ~ Robert Firsching

A female detective tries to live a life of surveillance and of spying on couples having affairs while her husband is in a strange coma.

A teenage couple drive around improvising radio shows, following night stalkers and rapists or peeping on various sexual escapades, describing what they see in detail, feigning shock and screams as the attackers become more violent.

A hospital nurse treating a patient for amnesia discovers that he is the serial killer who has been roaming the city armed with a metal baseball bat. The plot is really an excuse for numerous softcore couplings featuring rubber gloves and the like.

Halcion days, 16 November 2000 Author: white pongo (wap@nyc.odn.ne.jp) from tokyo japan Having lived in Tokyo for almost two years,i can confirm my suspicions that Sato is one of the most Japanese directors working today.His films could not be made anywhere else by anyone else.His unwavering,logical dissection of a central theme (usually something to do with psychosis and obsession) spiralling towards a nihilistic, doomed (and romantic) ending is in keeping with a dark strain that's been in Japanese culture since it's inception.Xenophobic film watchers who think this is a scary mirror of modern Japanese society should however,not take it so seriously.THE BEDROOM is a very hard film to write about.It has no asides.All the usual cinematic bull**** has been lyposucked away leaving a economic, tight and intense story that goes from A to B swiftly and leaves the imprint of a film behind without actually developing fully.But it doesn't need to.It's like a song that never repeats that riff you like so much enough to fully satisfy you,so you listen again.And (if his whole back catalogue was available in English) i would immediately put on another Sato movie after this.They are as obsessive and addictive as his characters.Unredeeming,anti-social and seriously well-made.One day,some film-maker will push forward Sato as an influence and maybe people will take notice.But until then,his small fan base will watch them in darkened rooms in dark cities trying to replicate a fever dream.