IMDb > I.K.U. (2000)

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Release Date:
3 May 2001 (Japan) See more »
This is not love. This is sex.
Reiko is a sex robot programmed to accumulate sexual experience. She goes through seven body types to experiences a variety of couplings... See more » | Add synopsis »
Plot Keywords:
1 nomination See more »
User Reviews:
cyber pinku-eiga becomes a multimedia exercise See more (15 total) »


Aja ... Tokyo Rose
Akira ... Akira
Miho Ariga ... Reiko #4
Myû Asô ... Reiko #5
Akechi Denki ... Akechi
Emi ... London
Margarette ... Mami
Mash ... Mash
Zachery Nataf ... Dizzy
Yumeko Sasaki ... Reiko #3
Ayumu Tokitô ... Reiko #1
Tsousie ... Reiko #7
Etsuyo Tsuchida ... Reiko #6
Maria Yumeno ... Reiko #2

Directed by
Shu Lea Cheang 
Writing credits
(in alphabetical order)
Shu Lea Cheang 

Produced by
Takashi Asai .... producer
Cinematography by
Tetsuya Yamoto 
Film Editing by
Kazuhiro Shirao 
Second Unit Director or Assistant Director
Masatoshi Tôjô .... assistant director

Production CompaniesDistributors

Additional Details

Also Known As:
90 min | USA:73 min | 74 min
Aspect Ratio:
1.66 : 1 See more »

Did You Know?

[first English lines]
Dizzy:Say "Kiss me."
Reiko #1:Kiss me.
See more »
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6 out of 6 people found the following review useful.
cyber pinku-eiga becomes a multimedia exercise, 14 February 2002
Author: quinolas

The initial concept of I.K.U. is rather interesting and promising. The GENOM Corporation sends female replicants around Tokyo to collect data from their different sexual encounters to then download this information on I.K.U. chips to be sold in vending machines. But the film somehow fails to go any deeper than that: a concept. First it relies too much on a technology that helps business to take over personal pleasure, this being the film's main critique (modern techno-crazed society loss of feelings as one replicant says: "It's sex, not love"). The director claims that the story develops like doing net surfing. This also means that as when you surf the net you also get overloaded with information which it mostly useless. For example the sex scenes lasts for ages but you are unable to skip them just as pop-up banners. The reason for their length is unclear (well, maybe if you consider it as a cyber-porno film(or cyber-pinku-eiga film) and their meaning is rather confused as sometimes they appeared to be titillating (sex scene in the limo or in the fish tank) and others being made fun of (as the scene in the homeless' tent with dolls). Also the overrated "Pussy point of view shots" which viewed after a couple of times become repetitive and tiresome. The film's production team itself indulges in the film's hype by creating, in the film's website, some sort of mythology backing the film's story and adding some more information to explain in words what it could not be achieved in images even though the world of the future, and to some extent the present world, is a world of images. Nevertheless the film's visual style deserves special mention. Shot on DV camera it achieves amazing light and colour effects worthy of film cinematography. Again this is a good example, for filmmakers lacking in money but with plenty of ideas, of the use of digital equipment.

The film's dealing with sexual issues is quite challenging due, maybe, to the fact that is directed by a woman. Sex is shown quite explicitly. This includes homosexual sex to the disgust of the male audience who sat uncomfortably in their seats as they were watching on the screen two guys performing oral sex. And the amazing scene where one of the replicants is having sex with her boss who turns out to be a female transsexual. The films also has its funny moments coming from the unintelligible dialogue from the Japanese cast and scenes such as the one in which a replicant and her sex partner appeared to be having sex inside a fish tank where koi (carps) seem to be floating around them.

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