How to define the pinku eiga, literally meaning “pink films” in Japanese? Appeared in the 60s, pinku eiga are low-budget films, often shot in a few weeks, and that allowed some studios – such as Nikkatsu Tôei and head out of the water and avoid bankruptcy. But most importantly, the student movement was born in the middle, they are certain to have a real load subversive against the Japanese government.
The work of WAKAMATSU Kôji, one of the filmmakers pink best known in Japan, is emblematic of this kind combines sex, violence and politics. One of his first films, The Embryo Hunts, is considered a classic pinku eiga. The action takes place in an apartment and features a boss and his employee that encloses violent storm and humiliated in many scenes disturbing. But in the film, gradually, the viewer becomes aware that the role of dominant and dominated can be reversed. The man, sure of himself, appears as someone psychologically fragile and submissive woman as being able to revolt.
Wakamatsu is not only a prolific director, but was also an activist in the Japanese Red Army, a clandestine organization known among other things for its hijacking and attack Lod Airport in 1972. He realized also in 1971, the Red Army – PFLP: Declaration of World War, a documentary featuring the drives of the two groups of armed struggle. In 2009, United Red Army, he tried awkwardly to take stock of the “years of lead” Japanese on the screens in the savage destruction of a group of Japanese Red Army.
His last film, the soldier god (Caterpillar) released last year, shows that 74 years Wakamatsu has lost nothing of his rebellious rage. The story, as always, is murky at will – a living soldier returns to his village, but without arms and legs, face half burnt. His wife, horrified, is forced by social pressure to deal with and be subject to the wishes of the national hero. The sequel lets understand the circumstances in which he was wounded in his inglorious reality. A violent charge against Japanese militarism and the absurdity of war, at a time when the temptation to rewrite the history of World War II in Japan are many.
Wakamatsu’s work has evolved over time to gradually detach from the pinku eiga genre. A genre that has evolved rather badly, gradually abandoning its appearance subversive. Originally developed by independent studios, it was recovered in 1970 by major studios like Nikkatsu and Tôei before being contaminated and competed in the 1980s with pornographic films videos. We prefer the look and pinku eiga the past, as a unique genre unique to Japanese cinema.