Horse, Woman, Dog

Typically urban pinku-eiga filmmaker Hisayasu Sato switched to a rural local for this graphic descent into softcore sleaze and bestiality. At heart, the film is an extremely perverse rural Gothic reminiscent of Western ’70s films like Pets and Dvaergen, in which a necrophilic man lives in a secluded house with a female amnesiac and a woman who murdered her sister. Sato centers his attention on the psycho-sexual deterioration of his protagonists, while Shintoho publicity played on star Kanako Kishi’s outrageous sex scenes with canine and equine “lovers,” ensuring that an otherwise routine film became a minor succès de scandale.