5.2/10
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Kandagawa inran sensô (1983)

Two sexually energized young women who live in a high-rise apartment building happen one day to spy from their window a mother and son making love in the apartment across from theirs. They ... See full summary »

Director:

Kiyoshi Kurosawa
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Cast

Credited cast:
Usagi Asô Usagi Asô ... Akiko
Makoto Yoshino Makoto Yoshino ... Masami
Yûichi Kishino Yûichi Kishino ... Young Man (as Hôen Kishino)
Rest of cast listed alphabetically:
Houen Kishino Houen Kishino ... Apartment Manager
Tatsuya Mori Tatsuya Mori ... Ryô - Akiko's Lover
Mimi Sawaki Mimi Sawaki ... Young Man's Mother (as Miiko Sawaki)
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Storyline

Two sexually energized young women who live in a high-rise apartment building happen one day to spy from their window a mother and son making love in the apartment across from theirs. They decide to stage a rescue attempt to free him and in the process one of the young women ends up falling in love with the son despite having a boyfriend and enjoying sex with her female companion. Of course, the mother they are warring against has her own plans when she feels her privacy invaded. Written by Greg Ferguson

Plot Summary | Add Synopsis

Genres:

Comedy | Drama

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Details

Country:

Japan

Language:

Japanese

Release Date:

August 1983 (Japan) See more »

Also Known As:

Kandagawa Wars See more »

Company Credits

Production Co:

Directors Company See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color
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User Reviews

 
Odd intro to a great filmmaker
6 March 2010 | by Henryhill51See all my reviews

Kurosawa's debut film is something of a compromising mess. Part "pinku" film and part self-referential art film, it's clear he stayed true on his commission of delivering a straight up erotic film while sneaking in bouts of Godard-like pop moments and sly evocations of Hitchcock. The story: two female friends, one bored by continuous sex with her boyfriend and the other just bored, spy across the street from their apartments and observe an older woman forcing her son into incest. They devise a plan to spring him from the confines of this life, thus sending the film into an airy series of foiled freedom attempts and long shot rolls in the hay. It doesn't always come together, but Kurosawa's deviant swipes of humor and his obvious love for Godardian snatches of cinema (the two women staring directly at the camera and posting a paper on the wall that reads "charge!", as well as the endless names of classic films on the background of one apartment) create a slowly endearing attitude.


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