Hitomi and a guy strip naked and have sex, and she squirts multiple times. In the second segment, another guy has sex with the buxom girl. In the third, a man is tickling and stimulating Hitomi through vibrators until she has an orgasm. In the fourth, a man in a suit has sex with her.
Sometimes movies need to be reviewed for what they are. A comedy is judged successful if it makes people laugh; a thriller if it gets people trembling in suspense; a drama if it makes people cry. Congruently, if an erotic film could be judged by the same criteria, it would be as to how erotically exciting it is. Naturally, sophistication and ingenuity are needed in any genre—there isn’t much of it here, admittedly, but this film compensates this through some other features, which go so far beyond the spheres of possible, that they nullify a lot of the complaints. Sexuality is a part of life, and this is just what the movie shows. A theory goes that in modern times, when Japan is facing a pandemic of asexuality, nature gives a response to compensate this in people with hypersexuality, in order to bring back balance. Sexuality needs to be made appealing again in order for a declining society to survive and rejuvenate itself. And Hitomi Tanaka is among the people who have taken this role. She seems like an alternative Sada Abe, had she taken a career in movies. Throughout the film, Hitomi squirts 30 times. In the first segment, the man is very excited to see such an attractive woman, but during the course of their lovemaking, he seems to be taken aback—since Hitomi gets even more excited than he does. Her superpower is sexuality, and it is remarkable how relaxed, casual and even playful she is with it. Unlike other movies with her, this one is without gimmicks, perversions or roles—it is just about two people having sex, reduced to its essence.
In that first segment, there is some excitement captured on screen. The guy fingers Hitomi, and she squirts. They then have sex, and you might think she is done and has exhausted her potentials, but then they change positions, she is on top of him, and all of a sudden she screams and looks down—she squirted again, covering his abdomen with water, and seems to be surprised herself at the capacity of her own body. In the second segment, while having sex, she squirts 14 times in half an hour. At one point, the man uses his penis to vibrate left and right on her clitoris, fast, and she squirts once more. The most astounding moment is when the man stops having sex, but she is not done yet, so she lies down and masturbates, until she squirts again and screams: pandemonium breaks loose. What is the secret to this? Was the man just the right size? Or was she just in the right mood due to her hormones at that particular day? At any rate, it is remarkable to document such erotic pathos—for real, unacted. The third segment is kind of a cheat, since a vibrator is used to stimulate her, yet it is notable for the moment where she just squirts, on and on, for consecutive 15 seconds in a row. In the fourth segment, the formula is back again with the man taking the role of her pleasure. In other such films, the actors are faking it. She, conversely, really enjoys it—and embraces it. It is a celebration of life. Throughout her career, Hitomi Tanaka had been slowly, little by little, building up a giant monument to human sexuality, the likes of which have not been seen in the history of cinema. Critics often say these movies are a dime a dozen. Her’s are, on the contrary, one in a million.
Grade:+++
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