2010
11 mins.
This short extra feature is an intimate interview with noted Pink film director Daisuke Goto. Goto goes into how he got into the film business, starting as an assistant director, and eventually getting invited to a Pink Eiga screening. He was drawn to the visual style and gorgeous 35mm filmmaking and began submitting scripts to Pink studios. A Lonely Cow Weeps at Dawn is perhaps his most important work as a Pink director, and Goto explains what went into making that piece of art.
2010
8 mins.
Yutaka Ikejima, or Mr. Pink as he’s called in the Pink film community, talks to us about his career and working with a variety of talented directors like Daisuke Goto. Mr. Pink has produced 5 of Goto’s films, and he explains why they are such great collaborators.
A part of the pink explosion in the early 90s, actor/director Hiroyuki Kawasaki engaged in numerous exploits in the genre throughout the decade which saw him develop numerous well-received efforts in this style. One of his most popular titles, Kôshoku kunoichi: Aieki-zeme or what became known as Ninja Pussy Cat, spawned an endless series of direct-to-video female ninja films based on the characters from this film with the unrelated Lady Ninja Kasumi and Lady Ninja Kaede films.
It’s the Fuma Village in Japan, 1580. A famed ninja gets killed by the evil Hattori Hanzo (Takahiro Nomura, from “Naked Ambition 2”) after he discovers that the local shogun and his son aren’t related. It’s up to his nubile and innocent virginal daughter Kaede (Mashiro, from “Peeping Sleepover”) to exact revenge on Hanzo and his mistress Toki (Yôko Satomi, from “Female Prisoner No. 701: Sasori”) for bumping off her dad. Kaede learns various lethal sexual martial arts techniques in order to accomplish this particular goal.
For the most part, this is a decent enough kuniochi effort. By managing to mix together the martial arts from the samurai films with the erotic with all the sex on display, ‘Ninja Pussy Cat’ offers up something for fans of both styles. By endowing the martial arts with a fair bit of erotica in how it’s adapted from traditional techniques, the film brings about a rather stylish air during these sequences by switching around typical practices. By having Toki train poor Kaede in the ways to kill her master with sexual attacks, this one provides opportunities for them to play with each in sexualized manners within the confines of the martial arts movie. This comes into play nicely later in the movie where we learn that the techniques are all apart of Hanzo’s plan to eliminate his enemies in a different manner than expected, providing the film with a strong finish.
It also doesn’t hurt that the film capitalizes on its two leading starlets. With Mashiro giving a strong performance as the innocent Kaede, she comes off as very appealing in her naivete throwing her revenge into jeopardy. Granted plenty of screen time to showcase herself in both lesbian and straight scenes, these come off with far more erotic charges than the other scenes in the film, making her a real standout. It’s quite easy to see why she became a major star in this subgenre following this film. Toki comes close to stealing the film with a fantastic performance as well. Her icy cold nature and sensuous performance are greatly appreciated, and the numerous scenes of her performing with her various captors are quite appealing leaving several steamy scenes in her wake. Especially memorable is their training session together, which is a fantastic mixture of erotic and somewhat torturous tactics.
However, beyond these factors, there isn’t much here. The pacing is incredibly glacial, hampered by Ribon Kawasaki’s script which doesn’t make any sense as to what’s going on. The whole quest for the secret of the emperor’s true lineage isn’t spelled out at all so the entire plot but Hanzo and his side doesn’t make any sense, leaving his side of the film rather limp. Likewise, the rather typical revenge plot gets trotted out once again here, leaving this one with no real surprises by the time Kaede finally unleashes her ultimate goal. That forces this one to rely on the sexuality as well as the martial arts action to carry itself along, and while the sexuality works the martial arts look rather clumsy.
Overall, this is a pretty solid and enjoyable outing. Fans of the other kuniochi titles that followed will certainly be interested in this one, while fans of more cohesive offerings might not find this one as engaging due to its other efforts and find it a bit of a chore to get through.
Review by gorelord84 on Asian Film Vault.
Yumi Yoshiyuki is an actress,and director who is one of the most productive female movie director in Japanese film history. She made her Pink Eiga acting debut in 1993. In 1997 she made her mainstream debut in legendary filmmaker Akio Jissoji’s “The D-Slope Murder Case.” For her performance in this film, she won the Best Supporting Actress award at the Yokohama Film Festival. This lead to more mainstream work including even Quentin Tarantino (Kill Bill: Vol 1)!
In 1996, Yumi moved behind the camera to direct her first film, “Chronic Rutting Adultery Wife,” which won the Best New Director award at the Pink Eiga Grand Prix.
In 2011, she was also invited to New Horizon International Film Festival in Poland to screen two films that she directed: “Miss Peach” and “Widow Apartment.”
Born in 1972 in Hiroshima she was led to acting after winning local beauty contests in Hiroshima. From there, she moved onto acting in TV and commercials and eventually made her Pink Eiga debut in 1998 in Shinji Imaoka’s film “Deme-King.” Yumeka claims that she didn’t know it was a Pink Eiga, instead thinking it was a direct-to-video action film, but after appearing in the film, she became interested in the Pink Eiga. She says what attracts her to Pink Eiga is its ability to reveal things about the world that mainstream films can’t.
Yumeka Sasaki is known for her portrayal of strong, unyielding women and punk chicks. Her younger sister, Nikki Sasaki, also performs in Pink Eiga and they’ve even appeared together in Osamu Sato’s film “Nurse Sisters.”
![Anarchy In [Ja]Panty DVD](http://www.pinkeiga.com/wp-content/uploads/2018/01/Anarchy_Front_Small.jpg)
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Yukiko Izumi is Japanese Pink Eiga actress.
She made her actress debut in “Sukebe Tenkomori” in 1995. It was directed by Berlin International Film Festival Award Winning Director, Takahisa Zeze. After that she worked with mostly Director Zeze, and she was in even internationally acclaimed movies “Raigyo” and “Anarchy in (Ja)Panty.”
She also worked with Director Mototsugu Watanabe (Sexy Battle Girls / Whore Angels) and Nakano Takao (Big Tits Zombie.) In those directors’ movies, she showed her talent as a comedienne.
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Yuki Mikami is Japanese Adult Video (AV) actress. Born on January 28, 1967. She made her AV debut in 2004. She mostly works in MILF genre.
While she was working as AV star, she was casted for the legendary Pink Eiga director, Yutaka “Mr. Pink” Ikejima’s ambitious Pink Eiga movie “Tokyo Strangler.”
For the movie, she was attracted by acting, she started working as a stage actress after that,
According to a video, she changes her name to “Rei Yuki,” “Kimiko Ikeguchi” and “Yuko.”
Now she runs a nude model agency company.
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Yuka Takemura is Japanese actress, best known for collaboration with Academy Award Winning director, Yojiro Takita.
She acted at the most of “Chikan Densha Series” (Groper Train Series) directed by Takita, and Takita himself became popular for this movie genre,
She later married to Japanese pink film actor, Shinji Kubo (Groper Train : Wedding Capriccio) and retired from acting.
Yōko Satomi is a Japanese pink film actress. She has appeared in award-winning pink films, and was herself given a “Best Actress” award for her work in this genre in 1999 and 2001.
Also in 1999 she appeared with male adult video star Chocoball Mukai in Shungo Kaji’s mock documentary film, “Ekiben,” a spoof of the AV industry which was shown at the Berlin Film Festival. In a review of the film the U.S. publication Variety noted that her performance as the director’s “discovery” was especially good.
She still actively acts in pink film genre.
Sora Aoi is Japanese AV idol and film and television actress. Her popularity as an adult video actress has led to celebrity status as a media personality in Japan and abroad.
Sola Aoi was born in 1983 in Tokyo. While in her third year in high school, Aoi was scouted by a talent agency for gravure modelling. She decided to enter the adult entertainment industry with the aim of eventually working on TV and in other parts of the entertainment industry, Aoi appeared as a gravure idol in the June 2002 and then made her debut in adult videos (AV) at age eighteen. During this period, Aoi also started making appearances in mainstream media. For her starring role in the pink film, “Tsumugi” released to theaters in July 2004, Aoi was given a Best Actress Award at the 2004 Pink Grand Prix ceremony.
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