Yoshida's sophomore feature reminded me of early films of Yasuzo Masumura in its agitated rhythm and ironic (and somewhat kitsch) social commentary on Japan's post-war consumer culture. Yoshida and the cinematographer Narushima's fluid direction effectively illustrates a loveless society that is filled with greed, bleakness and doom.
The pacing is a bit more hurried, and seems a little less pensive than the masterpiece Eros Plus Massacre. But that doesn't make it any less deliberate, and perhaps this is just a reflection of the aspect of modern culture this film seeks to critique. Not only an examination of how society and corporations can take advantage of people, but to also show how structurally forced societal images can be.
Sometimes forgotten, Yoshida was probably the biggest nihilist of the Nuberu Bagu. If Oshima could be linked to the rules of Confucianism and Imamura the carnivalesque celebration character of Shinto; Yoshida was the pure immaculate emptiness of Buddhism. His second take on a feature film doesn't show those empty spaces he will be known for later on his career, but its set of empty characters makes up for that.