Suzuki marries his constant attack on screen conventions with narrative outrage: from fantastical, perverse slow-motion sequences that scream conflict, to shards of film, ripping apart, destroying the Id of his characters literally on the screen itself. The tone and theme have unusual bite for Suzuki, who, through powerful existential - and caustically anti-National - subtleties, finds a few fresh arteries to sever.
Filmed as the opening film for the regular Nikkatsu double features, Shunpunden shows the Japanese master natural ability to turn every story into something special. Despise bad editing and other issues coming from its low-budget nature, the use of lateral camera movements, inorganic spaces, slow long-takes and a certain sense of humor makes this film stand out from the rest of the big studio pinku inspired films.
Suzuki’s dreamlike imagery and almost surreal atmosphere elevates what otherwise could easily have been an overheated B-movie melodrama. The plot is awkward and far-fetched at times, but the filmmaking is so stylized, it sometimes ends up having a fable-like quality to it. A fascinating piece of work.