18. Tokyo Decadence (1992)
Going by Ryu Murakami’s written work, I even have reason to believe his directorial venture here is nothing in need of an assessment of the planet around us, the people residing here, and their brutality, coldness, and lack of empathy, traced along the outlines of its presentation of a $e-xually charged little locality in Japan, lit by neon lights and populated by introverted people. The calmness we see outside may be a façade, hiding the derivation of sensual pleasures through sadomasochistic methods that folks (both of respectable occupations and otherwise) partake in within the walls of their residences. We follow a naïve, young call-girl who walks around these parts as she is employed , battered, and torn up by her clients, though she bears it all and stays submissive throughout. Murakami’s film cuts no corners in its depiction of human vi0-lence in connection to $e-xual excitement, which is where it finds a connection on the brink of several of the BDSM work churned call at p0-rnography.