And vice versa - no pun intended. You could argue about the way into prostitution, about being paid to have intercourse - and why people would do it. On both sides, as in those who are offering and those who take up the offer. But I think we agree it is better to have that, instead of people being frustrated sexually.

Of course there are many things that have to be taken into account. How especially women (and this shines a light on women who make up most of the "players" globally) are being exploited - money and otherwise. Of course the movie shines a light on that - and is not afraid to go nude! I did not expect this from a movie of this age. On the other hand, there was nudity allowed in the 70s so ... still quite risque takes we see from time to time. Nothing explicit, but some may have issues with what is shown. Just a fair "warning" for the sensitive souls amongst us.

That all said, the movie is a really good character study. Showing highs and lows of a life ... "chosen" ... the black and white cinematography is helping heightening a lot ... taking it to a different level.

This was another Japanese film I had never heard of prior to its appearance during the Italian TV "After Hours" programme. Considering the clearly exploitative title (apparently this was just one of a series of such films!), I was expecting a sort of Asian semi-documentary of the "Mondo" variety but instead it turned out to be a reasonably compelling character drama with a good leading performance from Meika Seri as a young but strong-willed prostitute surviving in modern-day Japan.

While it's basically a series of often perverse sexual encounters between Seri and a variety of clients (and it's certainly the most explicit out of all the Asian flicks I've watched recently), the film also follows her relationship with her dysfunctional 'family': the mother is an ageing prostitute whose clients are beginning to shun her for her daughter, especially after she has been newly impregnated; her retarded brother is allowed to spy on the love-making and the girl (without any real thought of abuse or even incest) occasionally indulges him as well because, as she tells him: "After all, you're a man too!"; her pimp is a selfish bully but she manages to stand up to him, after which he is forced to take on a couple of needy and inexperienced lovers instead (an episode which has a literally explosive conclusion).

However, the most surprising factor about the film is how well it's actually made with the inventive camera-work being of special interest; near the end (the scene of the retarded boy going mad and committing suicide, and which features footage involving a chicken that wouldn't go down well with Animal Rights activists!) it switches briefly to color, albeit with a heavy bluish tone. The eclectic music score – alternating between synthesizer/heavy-rock passages and traditional Japanese songs – is another major asset.

Interestingly, while the lead actress later appeared (in a supporting role) in Nagisa Oshima's notorious sex-fest AI NO CORRIDA aka IN THE REALM OF THE SENSES (1976), director Noburo Tanaka had actually filmed that same story himself under the name A WOMAN CALLED SADA ABE (1975)!