A New Love in Tokyo (1994)

In the twilight of the Japanese Bubble era, Ayumi (Reiko Kataoka) is juggling between her work as a call-girl and a life with a boyfriend unable to get into college. Soon, she meets Rei (Sawa Suzuki), a seasoned dominatrix aspiring to become a theater actor, who spends her free time rehearsing with a troupe that blurs the line between the stage and the bedroom.

Marketed in some territories as a quasi-sequel to Ryu Murakami’s landmark pinku film Tokyo Decadence (1992), Banmei Takahashi’s A New Love in Tokyo unfolds as its tonal opposite: less a somber sexploitation film than an unexpectedly sex-positive workplace comedy ripe for rediscovery. A glimpse into a bygone era of Japanese eroticism, A New Love in Tokyo provides veteran pinku and V-cinema director Takahashi (Door, Door II, Neo Chinpira: Zoom Goes the Bullet) with a bridge towards a wider range of human experience.

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