Imagine a movie so gleefully absurd, so deeply committed to its bizarre premise, that it transcends good taste and logic to become something strangely mesmerizing. That’s S&M Hunter, a Japanese pinku-exploitation film that blends bondage, comedy, action, and the kind of fever-dream storytelling that only 1980s Japan could deliver.
The plot (because there is one, sort of) kicks off with the Dungeon Master (Yutaka Ikejima) showing prospective client Saeki (Bunmei Tobayama) around The Pleasure Dungeon, and asking such important questions as “Would you like sadism, masochism, costume play, or a scat job?” You know, standard questionnaire stuff. Saeki chooses sadism and is quickly introduced to Maria (Naomi Sugishita), a submissive dressed as a nun, but after a frenzied whipping that leaves the woman unconscious, the Dungeon Master is surprised that Saeki isn’t interested in having sex with her. Turns out the reason he came to this club was because he really hates women, and this seemed like the best place to vent his rage.
I guess there are worse therapies out there.
But why does Saeki hate women so much? Well, it turns out that Saeki is gay and a sukeban gang called “The Bombers” had kidnapped his boyfriend Jack (Akira Fukuda) in an attempt to “convert” him to their ways, as in make him like girls. Feeling for the man’s plight, the Dungeon Master offers the services of a mysterious figure known only as S&M Hunter (Shirô Shimomoto), a legendary bondage master who uses his expertise to train women to be slaves in the most… creative ways possible. His mission? To infiltrate the gang’s lair, unleash his erotic justice, and turn the tables using the sacred art of shibari (Japanese rope bondage). Yes, really. Armed with ropes, a confident smirk, and a poetic monologue about the beauty of restraint, our hero enters the fray, setting up a series of absurdly theatrical battles against his depraved foes.
It’s the eye patch that really sells his credibility.
Written and directed by Shuji Kataoka, S&M Hunter operates on pure grindhouse energy. It’s part superhero parody, part softcore sleaze, and 100% unhinged. Japanese exploitation cinema, particularly in the 1970s and 80s, saw the rise of pinku films—low-budget, erotically charged movies that often pushed the boundaries of storytelling, aesthetics, and societal taboo. It’s a film that also leans into its absurd humour, with exaggerated sound effects, dramatic zooms, and a script that delivers lines like “Cut one more rope and you will send her to the Ecstasy of Hell” and my personal favourite “All the masochists need me, I’m a charitable sadist.” All said without a hint of irony.
Is this the Cult of the Spider-Woman?
The lead performance by Shirô Shimomoto as S&M Hunter is a highlight as he plays the role with a mix of deadly seriousness and campy self-awareness, never breaking character, no matter how ludicrous the situation becomes, turning what should be an utterly laughable character into a weirdly charismatic antihero. His lines are delivered with such conviction that you almost believe this is a legitimate action movie—until you remember he’s defeating his enemies with rope tricks. Then there are the film’s antagonists, a gang of leather-clad, hyper-aggressive women who are cartoonishly evil but also very beautiful. The two key players in the gang are Meg (Hiromi Saotome), a professed man-hater who has a dark history with the S&M Hunter, and the gang’s leader, the imposing Machi (Ayu Kiyokawa), who not only fails to turn Jack into a heterosexual love but falls in love with the S&M Hunter and his rope skills.
Let’s just say, this is not a great moment for feminism.
For all its absurdity, S&M Hunter is surprisingly competent; despite being a low-budget production, it features stylish lighting and creative framing, especially during the bondage sequences. Visually, the entry employs many of the stylistic conventions of Japanese exploitation cinema: grainy cinematography, bold colours, and extreme close-ups that exaggerate the emotions of its eccentric characters. However, unlike the grim and often violent tone of some pinku films, S&M Hunter maintains an air of playfulness, never allowing its subject matter to become genuinely disturbing. The action sequences, featuring whips cracking like gunshots and elaborate bondage take-downs, are both hilariously over-the-top and strangely well-choreographed. It’s as if the filmmakers really wanted to make a visually interesting movie… but also had a quota of whips and ropes to meet. And hey, why not throw in some Nazi regalia as well?
I give you Japan’s answer to Ilsa: She Wolf of the SS.
It should be noted that while S&M Hunter is unmistakably a pinku film, it departs from the genre’s typical emphasis on lurid titillation. Instead, it embraces a tongue-in-cheek tone, parodying the tropes of exploitation cinema while still indulging in their excesses. Unlike more traditional pinku eiga that often dwell in gritty realism or melodrama, S&M Hunter revels in its own absurdity, making the film as much a comedy as it is an erotic thriller. The action sequences, exaggerated performances, and bizarre dialogue enhance its surreal nature, making it a film that both celebrates and mocks its genre. It is not your conventional love story, to say the least.
These people enjoy sunsets in a rather different fashion.
Of course, S&M Hunter is not a movie for the easily offended. It’s an exploitation film through and through, revelling in its own kink-fuelled chaos. The gender politics are… well, let’s just say “of its time,” and the film’s themes will undoubtedly raise eyebrows. The film leans heavily into that element of exploitation, with all the nudity, violence, and dubious consent tropes that come with the territory. And while it has a plot in the loosest sense, S&M Hunter is really just a series of elaborate set pieces connected by sheer willpower and kinky monologues. But as a piece of underground cult cinema, it’s a fascinating watch—equal parts hilarious, shocking, and oddly impressive in its commitment to the bit.
This is a movie that has it all, and then some.
In conclusion, if you enjoy films that abandon logic in favour of sheer entertainment, this is for you. Every scene plays out like a fever dream of leather, ropes, and bizarre one-liners. This is the kind of movie that defies conventional ratings, and if you’re looking for a wild, completely off-the-rails Japanese exploitation flick that feels like 1966’s Batman got lost in a seedy Tokyo back alley, S&M Hunter is a must-see. Just be prepared for whips, ropes, and a whole lot of “what did I just watch?” moments.
No comments:
Post a Comment