Behind the door. The fetist aka Atsui toiki, perhaps, one of the most restrained films of Hisayasu Sato (Hisayasu Sato), gained popularity thanks to his skillful pornographic tapes, which provided him with a breakthrough debut with recognition of masterful abilities in the production of a separate genre cinema, well-demanded by wide layers of interested audiences.
Only Sato did not close himself in the framework of monotony, trying himself in outright horrors with inappropriate perversions at the request of various simpletons who indifferently ignored his attempts to test himself in a deep-thinking cinema, returning to adventurous nonsense, while the master counted on more, groping a game plot.
Going through Sato’s filmography at IMDB, it’s hard to believe that a director with such a set of titles is capable of doing something serious, going beyond extreme psycho-physiological abnormalities and deformities, to prove himself in a healthy dramatic genre that no one expected from him.
In his attempts, Sato shot several dozen different paintings, many of which, like my find, remained outside the framework of various bases, flying copies on home screens, exciting midnight viewers with a nightmare of horrors or a plexus of hot bodies.
Selectors of the Moscow Film Festival in 2011 chose to show the picture “Girls without Names” (Namae no nai onna-tachi) to present Sato to Moscow audiences, as it seemed, almost did not pay attention to the unexpected Japanese passage.
Hot breath (another variant of the name of this tape) hangs in the gap between consumer consumer consumer consumer consumption and an intricate plot game, combining the fertile soil of erotic experiments and sexual experiments taking place against the background of the growing manic syndrome, with which, naming, a wandering person falls on strange lovers, sinking into the madness of a bloody nightmare controlled by the director’s desire not to go through.
Restrained in expressions, Sato writes a sketchy romantic thriller in criminal and crimson tones, cutting the web of connections with the pulses of sound waves of a noisy city, inside which passions boil, and a destructive fuss crowds.
Apparently, the director sought to synthesize a multi-genre product, applying proven means to new roads for him - ways, trying to break away from the stereotypes that glue him to an unassuming plot gallimat, since Sato himself looks wider than fans who turn away from soft lines, counting on whimsical hardness.