Named Best Japanese Film of the Year by the Japan Times and noted Japanese film authority Donald Richie, Vibrator is a remarkably affecting road movie brimming with cathartic intensity and bold eroticism.
Directed by international rising star Ryuichi Hiroki (I Am an S&M Writer, Tokyo Trash Baby, It’s Only Talk) and based on the acclaimed novel by Mari Akasaka, Vibrator follows Rei (the extraordinary Shinobu Terashima), a thirty-something freelance writer wrestling with psychological instability and a penchant for booze. One night while shopping for beer at an urban mini-mart, Rei runs into Okabe (Nao Omori, of Takashi Miike’s Ichi the Killer), a handsome young trucker pit stopping for gas and munchies. Impulsive and captivated, she climbs into his rig for an impromptu road trip. But what begins as a one night pick-up becomes a transformative journey of sexual and emotional self-discovery.
Psychologically raw and surprisingly uplifting, Vibrator represents a creative milestone for director Hiroki. With its frank approach to sexuality, relationships and personal liberation, the film is, as Tom Mes of the online cult Japanese film journal Midnight Eye writes, “one of the most universally resonant and downright important statements cinema today can hope to deliver.”
Ryūichi Hiroki (廣木 隆一 Hiroki Ryūichi?) is a Japanese artist, film director, and film editor. Ryūichi Hiroki is now one of the most prolific film directors in Japan. He is a pioneer in using digital video to shoot theatrical films in Japan. When he wanted to learn about making films as a student, he found a training opportunity in the pink film industry, a genre of erotic films produced exclusively for theatrical release since the early 1960s. He first produced the erotic film Seigyaku-Onna wo Abaku (Catch the Woman Out) in 1982. Hiroki left this genre when he received a scholarship at the Sundance Company in Tokyo. During his stay at Sundance, he wrote the script which he later developed into his 2000 film Tokyo Trash Baby. He is described by one film critic as one of Japan’s most fascinating film makers. —Wikipedia
If the nineties were the years which marked the return of Japanese cinema on the international film circuit, introducing and establishing
The first two scenes (the quick mart shopping and the sex scene in the truck) were fantastic because they were all about physically beautiful people coping in enclosed spaces. And then suddenly the… read review