Summary of the season of infidelity

As one of the genre films of Japanese movies, pink movies, which originated in the late 1960s of/kloc-0, have survived to this day with their tenacious will to life. Even though "hard" porn AV (adult video), as a more veritable adult consumer product, gradually replaced the Roman erotic film, a branch of pink movies, pink movies did not die out from it, but developed in a better direction: on the one hand, Takahisa Zeze, Hisayasu Sato and others continued to stick to and ponder the genre rules and elements of pink movies, which began in the1990s, on the other hand, a group of directors such as Kichitaro Negishi. After 1990, the pink film with a makeover was presented to people with two completely different faces-AV and erotic films, that is, the division between business and art. ..

Ryuichi Hiroki is the last generation of directors who made his debut in erotic films, Rome, and the original video that was popular in the early 1990s further honed him. The double test of Roman pornographic films and video films has developed Ryuichi Hiroki's unique ability to make the best films with the lowest budget. This quality became more and more obvious when he bid farewell to Rome, erotic films and the video film market and devoted himself to the authentic film-Japanese erotic films.

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At the end of the 20th century, Ryuichi Hiroki completely stepped onto the stage of film. The past experience of becoming a pink film and a video film can be regarded as a good witness. In this film, Ryuichi Hiroki played his skills in cheap video movies-using a limited number of actors to complete unlimited stories in several fixed scenes; While picking up the material of the pink movie, I critically looked back at the functional world of daily life in1970s.

Dan oniroku, the father of Flowers and Snakes and known as the Japanese Marquis de Sade, once provided the most powerful literary foundation for pink movies, especially SM Pink, the best Japanese novelist. Adapting his novels into movies is undoubtedly a shortcut to return to the era of pink movies. However, although the season of infidelity is adapted from an autobiographical novel by dan oniroku, it is not a type of "soft" pornography, but a full-fledged Japanese erotic films. An obvious evidence is that there is not even a scene showing sexual intercourse. Of course, the functional information it conveys is not inferior to that of pink movies. Ryuichi Hiroki's montage artistic skill is fantasy. A large section of explicit and obscene dialogue in the film is skillfully matched with elegant and dignified pictures.

The difference between Japanese erotic films and pink movies is probably similar to foreplay and coitus. The former has romantic and aesthetic artistic tendency and expands space, which is human culture, while the latter often reminds people of vulgar, low-level and even ugly images. The artistry revealed in the season of infidelity is even reflected by the naked amorous feelings of the heroine. The texture and curve of the heroine's nude painting are thin but not round, which reminds people of the sense of painting and sculpture of human beauty, rather than the lust temptation of sexy and greasy flesh in AV. Ryuichi Hiroki gives the picture a sense of oil painting color (oil green or orange), which makes nude painting reveal a solemn and elegant temperament.

The season of infidelity can easily lure people back to the era of Rome and erotic films in1970s, and at the same time, it can show its critical position and non-"soft" pornographic identity. Another reason is that it is described from the inner perspective of a creator. Ryuichi Hiroki described a writer's life tragedy brewed by art behind pornographic literature.

The plot of the movie is like this: Kurosaki Isshin, the writer played by Dashan Lian, writes SM novels, leaving Xing Chunzi's wife Shizuko in the cold. On one occasion, Shizuko and her husband's assistant Kawada (Jun Murakami) were drunk and committed adultery, and they voluntarily were abused by Kawada. When Kurosaki knew about it, he was inspired to write a novel. While he became angry from embarrassment, he continued to instigate Kawada to seduce and abuse Shizuko, and wrote a novel on this basis. Finally, Kurosaki's work Fu Zi, his wife also left him. Kurosaki felt particularly sad.

An impotent husband tolerates his wife's adultery with a young man and enjoys the pleasure of jealousy to improve his tired sexual desire. Such a plot will inevitably not remind people of the famous Flowers and Snakes by Dan Oni VI or Junichiro Tanizaki's The Key. If "The Season of Infidelity" is a veritable autobiography of Dan Oni, then the novels written by SM writer Kurosaki in the film must be flowers and snakes.

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Ryuichi Hiroki described the life of SM writers, and showed the situation of SM pornographic works in11970s from the inside of the creators. The daily aesthetic SM powder movies draw nutrients from SM novels, and SM novels also stimulate imagination with the help of similar movies. In the story, SM screenwriter Kurosaki invited girls to perform BDSM(displine and bundle) at home for inspiration, just like the film's self-writing and self-directing. Finally, he followed the example of his wife, who took the initiative to act as the abused hero in her husband's works, which led to the tragedy of life in which art was supreme. Ryuichi Hiroki also used the words of the characters in the play to feel the degeneration and helplessness of functionalist literature. From Junichiro Tanizaki to Tanyu Liulang, functional literature finally changed from pure literature to pornographic commercial literature. However, it is completely different from the positive sublimation of functional films. From Tetsuji Takechi and Masaru Konuma to today's Ryuichi Hiroki and Kichitaro Negishi, after 30 years of star frost, pink movies finally ushered in the artistic transformation of erotic films today.

Like Ryuichi Hiroki's previous works, the charm of The Season of Infidelity is not dramatic, even unreasonable at first glance. In fact, the director's detailed exposition and exploration of the characters' inner world-erotic psychology is the highlight of the film. SM writer Kurosaki is engaged in writing SM novels. On the surface, he is lascivious and powerful. In his novels, he indulges in sexual abuse of women, but he is bluffing. Or it is a cover-up and struggle for your sexual failure. Pretending to be a sadist in creation is just acting as a masochist-mental masochist in life. He needs the help of his assistant Kawada's young and powerful body to achieve the unity of reality and fantasy. Therefore, after discovering the secret of Kawada's adultery with his wife, he adopted a conniving attitude.

The role of Shizuko once again witnessed Ryuichi Hiroki's superb skills in depicting women's psychology. Shizuko took the initiative to seduce Kawada and play SM, not because she was unfaithful to her husband, nor because she was infatuated with Kawada's masculinity. On the contrary, she was originally out of nostalgia for her husband's old love: in order to save the love of her husband who was on the verge of breaking up, she wanted to be her husband's ideal woman-the abused woman in her husband's novels. Kurosaki Jun's sadist fantasizes about the real thing, namely Kawada. So in order to be abused by her husband in Imagination (novel), she took the initiative to find Kawada instead of falling in love with Kawada. Therefore, after Shizuko finally divorced her husband, she naturally left the shadow of her husband Kawada.

Shizuko's practice is naturally futile and ridiculous. At first, even though she didn't betray her husband spiritually, the physical betrayal drove the spiritual betrayal further. In order to save his original intention of getting married, he was overthrown unconsciously. In the step by step physical betrayal, her feelings for her husband gradually disappeared. This is beyond her expectation.

The season of infidelity has exquisite mirror language, yellow nostalgia and melodious melody, reaching an unprecedented aesthetic peak in Ryuichi Hiroki. His other works, because they are often cheap and rough pink movies, video movies or DV, rarely show aesthetic Excellence. The scene of the film mainly focuses on the single-family country house in Kurosaki. In Ryuichi Hiroki, medium shots and stable long shots are often used, focusing on the study, dining room, bedroom, corridor, eaves and garden, which reflects the sense of space perspective of Japanese houses. At the same time, the psychological activities of the characters and the contradictions and conflicts of the story are skillfully combined with the environmental scenes.

Ryuichi Hiroki quoted classics and borrowed many classic scenes from pink movies. For example, the heroine Shizuko appeared, dressed in a black kimono, holding a white umbrella, holding clogs and wearing white split cloth socks, just like the opening of Masaru Konuma's Sacrifice to the Lady. Other scene compositions, such as getting drunk in the bathroom and watching the sea, also draw lessons from Tatsumi Kumashiro's Keys, Toshiharu Ikeda's Keys and Masaru Konuma's Flowers and Snakes.