Dead grandpa's ghost POV watches his family get weirdly horny at his funeral. Yes, really.
Minoru is dead. However, he was conscious for some reason and could not hide his confusion and surprise. His body doesn't move and he has no senses, but only his ears can be heard. The voice of his son and his wife, who lived together, made him wonder if he was going to night and died in a pitiful way. Even though it was a night out, his liquor-loving boy had removed his squirrel. Her son's daughter-in-law, Maya, came to Minoru, who couldn't yell at him and was amazed. She thought she was a well-made bride and wasted on her son. It also has a sexual meaning. Eventually, I heard the voice of an unknown man, different from her son. Maya called the man "Mr. Matsuda" and began to roar beside his body, uttering a hailless voice. Minoru's desire to see opened her one eye a little. But by that time things were done.
Direction
Tetsuya Takehora's locked-in POV gimmick is genuinely inventive.
Production
Maximum sleaze achieved on clearly minimal budget.
Director
Tetsuya Takehora
Trivia, insights & behind the scenes
Pink films (pinku eiga) flourished in Japan's 1960s-80s as low-budget erotica; this 2019 entry revives the tradition with self-aware grotesquerie.
The immobile protagonist device mirrors Japan's aging crisis—elders as invisible witnesses to families that have moved on without them.
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