So Hayakawa

Three social outcasts who live near the seaside interact with each other in increasingly disturbing ways. The trio of characters are a woman who has killed her sister, a man who enjoys necrophilia, and a female amnesiac. The first woman engages in sadistic pursuits such as capturing young women at the beach to force them to engage in sexual activities, including copulation with a horse and a dog.

A detective is hired to locate a model's rapist.

An embittered young man who draws no physical pleasure from sex starts a club for his friends, luring young women into violent rape and torture by charming them over the Internet. Eventually the angry sister of one of the girls takes revenge.

Ryuzaki, an editor of Muscle Magazine, which features photographs of men with sculpted bodies, becomes involved with a man named Kitami; their affair soon becomes dominated by sadomasochistic games, with a horrid result. Jump ahead one year, Ryuzaki is released from jail and goes in search of Kitami, perhaps to make amends. The films of Pasolini, especially "Salò," dominate Ryuzaki's imagination; he works sometimes at the Lunatic Theatre, which shows films about rough trade; and, he becomes involved with a couple into BDSM. Will Ryuzaki find Kitami, and what will happen if he does?

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.

Japanese cult filmmaker Hisayasu Sato took a crack from his constant climb toward respectability with this particular kinky pinku-eiga entry aimed at the latex and rubber fetish set. A medical center nurse dealing with a patient for amnesia finds out that he is the serial slayer whom has been wandering the city armed with a metal baseball bat. The story is really an excuse for many softcore couplings offering rubber gloves as well as the like. an usually downbeat wallow in the perverse, perhaps offering evidence that while one can take the filmmaker out of the slum, the reverse is often untrue. Maya Shiraki movie stars with the omnipresent Takeshi Ito and Yoko Fujita.

A gruesome snuff video is found in a sex booth. It shows a young woman who is tortured, killed, and dismembered by an unknown sadist. The deadly blade is hidden inside the camera itself. Hisayasu Sato's regular Kiyomi Ito begins to investigate the videotape.

Usuda plays an adopted orphan who is in love with his stepmother and repeatedly raped by his new father. When he grows up, the traumatized boy becomes an arsonist, only to find some fleeting taste of love with the male detective investigating him.

Eiji, a teenager eager to follow in his late father's scientific footsteps perfects one of his old experiments to diminish the barrier between pain and pleasure.

High school student Kozue spreads flyers in search of her missing classmate. A psychopath lures her to his place, where he abducts and imprisons her. The psychopath rapes his victims with a vibrator, then poisons and photographs them dying. However, Kozue reacts differently from other women.

Director Hisayasu Sato helmed this peculiar tale about a woman known as Locker Baby because she was left in a bus station locker as an infant. Locker Baby is raped by a man clad in black leather, traumatizing her still further, and driving her to sensory-deprivation therapy. Unfortunately, she is raped during the course of the therapy and becomes pregnant.

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.

A viciously sadistic tale of an orgy of rape and violence in a Japanese high school.