Wet Woman In The Wind Review

Introduction

When Nikkatsu was facing bankruptcy in 1971, a shift from activity to sexploitation narratives, labeled as Roman Porno, became their saviour. In the years that followed more 800 titles were produced until May 1988, when the contest of the straight-to-video pornography and the increasing popularity of television put an end to the label.

To gloat the 45th anniversary of the Roman Porno characterization in 2016, Nikkatsu decided to reboot the label, once once more opening the field for playful experimentation and artistic cinematic expression. For this reboot, Nikkatsu invited Akihiko Shiota, known for narratives like Moonlight whispers (1999), Harmful insect (2001) and Dororo (2007), to create a feature of maximum 80 minutes under pretty much the same limitations in time and money as so, while while sprinkling the narrative with erotic scenes.

Only given the theme boxing to orient his narrative with, tin can Akihiko Shiota's narrative attain the same social and, as sexuality and love is a driving force in homo relationships, psychological relevance Roman Porno one time had in its heyday?

Review

One day, while Kosuke Kashiwagi (Tasuku Nagaoka), a playwright who escaped Tokyo's metropolitan life to seclude himself in a wood, is reading a book at the harbor, Shiori (Yuki Mamiya) rides her bicycle directly into the water. Emerging from the water, she reveals her chest undisturbed, while asking him, point-blank, to set her up for the night. Kosuke coldly ignores her. Not in the least pleased, Shiori decides to follow Kosuke to try to take hold of his attention. And even though Kosuke keeps brushing her off, Shiori reveals that she has set her eyes on him and swears to make him want her. When Kosuke and Yuzawa, a friend of Kosuke, become fetch coffee beans at the café in the boondocks, he accidentally meets her over again. Later, the former theater troupe and its female director, who lusts for him, visit Kosuke. Will Shiori obtain what she is striving for?

While the narrative might be comedic in nature, often bordering on the silly, it also provides a more than serious commentary on the positions of each gender sexuality conditions. Wet Woman in the air current structures itself around the oppositional terms of objectivity/subjectivity, while putting the simple phallic orientation so feature of men in all its ridiculousness on brandish (narra-note 1). Confronted with the disdaining reluctance Kosuke shows towards her sexual openness, the unproblematic way in which she experiences her sexuality, Shiori has no other weapon than her seductive sexuality. She present herself as an object for men to bask sexually, implying vaguely forth the style that some women only notice enjoyment in such objectification equally such.

The effect that Shiori'southward willingness to be reduced to a mere sexual object in the eyes of men produces might be surprising for the spectator. Besides glancing at the male sexual aggression such objectification invites, the male contest information technology instigates, and indicating that male self-worth is often derived from, as they have the imaginary phallus, the imaginary possession of women, Shiori playfully reveals that her subjectivity goes across any kind of objectification whatsoever and that the real objectification should be situated at the side of the males (Kosuke, Kobouchi, …): the truthful objects of the narrative are the men. They do non realize that in Shiori's battle men are revealed, while believing they have the imaginary phallus, as faithfully post-obit their real phallus. If at that place is something that this narrative uncovers vividly, information technology is the very silliness of the male phallic position, their position every bit limited past imagining oneself as the imaginary phallus, in sexuality (psycho-notation 1).

Given the limited time and budget, it might exist surprising that Wet Adult female in the Wind boasts some marvelous and powerful compositions – underlining once more than the talent of Akihiko Shiota (cine-note 1). Each narrative space, especially the forest where Kosuke lives, is used in the guise of a canvas on which the non-erotic interactions and the erotic encounters are painted on. The long takes, by which the battle of our wet woman is framed, puts the weight on the acting and the chemistry betwixt actors as such. Both Tasuku Nagoaka and Yuki Mamiya give dandy performances every bit their respective characters, but, more than importantly, it is the chemistry between them and the sensible tension between the rather stoic Kosuke and the playful energetic Shiori they evoke, that catches the spectators wish to know if she will succeed and, if she succeeds, how she succeeds.

The narrative goad of Moisture Woman in the Wind is to be situated in the character of Shiori. All the dizzy surprising twists and turns of the narrative are caused past her unpredictability, the aphrodisiac nature of her sexuality, or the seductive objectification of men she introduces. And while many sex-scenes – especially the way in which the men are framed inside these scenes – border on the comical and the ridiculousness, the energetic terminal tertiary of the narrative, nevertheless, proves to be tantalizing in many ways.

Moisture Woman in the wind proves to exist 1 funny hell of an erotic boxing, with some very powerful and poetic compositions and scenes to boot. And while it uncovers the very silliness men tin can attain in the field of the sexual – the imaginary phallus as farce, it also shows vividly that only women can go across that manly silliness, and that, in a battle of eroticism, but woman accept a victorious liberty.

Notes:

Cine-notation i: I such shot is the shot that follows the shot of the surfer and Shiori having sexual practice in Kosuke's forest motel. While the surfer, at a loss for words and embarrassed, and Shiori dwindles around the motel, Kosuke, in his stoic manner, serves them coffee.

Narra-notation one: This is as well revealed past the signifier of Domestic dog and Tiger. While Kosuke calls Shiori a stray domestic dog, Shiori'due south sexuality – she as tiger – reveals kosuke every bit the loyal domestic dog. Facing the tiger adult female's sexuality is, men seem to display a far reaching loyalty to the imaginary phallus they think they possess for a woman.

Psycho-note ane: The imaginary phallus is the enigmatic image – i doesn't know what is is, that is considered to be desired past the Other. It is important to underline that the their is non concrete and always stays vague. The male subject can feel as if he possesses the imaginary phallus without knowing what he possesses – I have "it".

Source: https://psychocinematography.com/2017/07/27/wet-woman-in-the-wind-2016-review/

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