Ikenie fujin (1974), directed by Masaru Konuma, is a cult classic that delves into the dark and twisted world of Japanese folklore. The film follows the story of a young woman who becomes possessed by a vengeful spirit, leading to a series of gruesome and unsettling events. While the premise is intriguing, the execution leaves much to be desired, resulting in a mixed viewing experience.

One of the film's strengths lies in its atmospheric and eerie visuals. Konuma effectively creates a sense of dread and unease through his use of shadows, dim lighting, and unsettling imagery. The practical effects, though dated, are surprisingly effective and add to the film's overall creepy vibe. However, the pacing is often sluggish, and the narrative can feel disjointed at times, making it difficult to fully immerse oneself in the story.

The performances in Ikenie fujin are a mixed bag. While some actors deliver convincing and committed portrayals, others struggle with the material, resulting in moments of unintentional camp. The film's exploration of Japanese folklore and mythology is intriguing, but it often feels surface-level, leaving the viewer wanting more depth and context.

Overall, Ikenie fujin (1974) is a flawed but fascinating cult classic that will appeal to fans of offbeat and unconventional horror. Its atmospheric visuals and creepy premise are let down by uneven pacing and performances, but there's still enough here to make it a worthwhile watch for those with a taste for the bizarre and unsettling. While not a masterpiece, it's a unique and memorable entry in the annals of Japanese horror cinema.

It never ceases to amaze me how many gorgeous Japanese actresses will star in the sickest pink rape films yet the showing of the genitals and normal sex is forbidden in Japan. This one is as vile and degrading as any pinku. Kidnapped by her psycho ex-husband, she is forced into sadistic, horrific, extreme acts. There's a rare Asian Cult Cinema interview with Naomi that's difficult to find. I don't know if she explains why she was so personally immersed in this bizarre lifestyle and level of film making.