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The most accessible film of director Satoshi Kon's all-too-brief anime career. Where Perfect Blue and Paprika are more adventurous and challenging, they're also difficult to sit back and enjoy in a traditional sense without falling into a deep state of analysis. This one, of three bickering homeless chums who find an infant girl in the garbage, retains the quirks, charms and emotional punch of Kon's other works without challenging quite so many conventions. Sweet, funny and grounded, it's constantly flashing a dry wit and, although it often tugs at the heart strings, things never get overly soft or weepy. The trio of leads are diverse and interesting, each with an onion skin of personal history to explore, and their hunt for the child's parents amidst the overpopulation of a major world metropolis constantly jolts out in surprising new directions. Beautifully written, drawn and animated, it can also be a bit static and randomly fortuitous.

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This says a lot about society, because we live in one... Synopsis A submissive hooker goes about her trade, suffering abuse at the hands of Japanese salarymen and Yakuza types. She's unhappy about her work, and is apparently trying to find some sort of appeasement for the fact that her lover has married. Parental Guide Uploaded By: FREEMAN August 16, 2019 at 03:03 PM Director Cast Tech specs Movie Reviews Reviewed by 8 / 10 happy girl's unhappy adventure A call girl who works for the S&M service went through 6 sessions of bizarre sexual adventure. She was abused physically and mentally by the clients. I think this movie is great because it gives you a view of Japanese sexual culture in the 90's. Overworked men seek excitment in perverted sexual endeavors. Women's status in a society can be seen through the degrading sexual practice. A great film for adults. However, if you are looking for sex go watch "In the realm of senses". Reviewed by Bishonen 9 / 10 Beyond Surfaces A shimmering brightness infuses "Tokyo Decadence". The neon-blasted streets, the eerie, artificial glow of offices and hotel rooms, even the translucent glow of daylight insinuates under the skin of the film. The antiheroine of the film passes through a sexual Seven-Circles-of-Hell in Tokyo, used and battered by clients, gangsters and even friends who ply her with drugs and subversive sex. None of the sexuality is erotic, but it's also not presented as obscene or tragic. The spare, minimal approach to the dialogue heightens the tension and sense of dislocation. The film presents sex as a matter-of-fact commodity, flesh as spiritual bargaining tool in return for a temporary escape from alienation and fear. It's an intriguing film, difficult to watch but rich in visual beauty and its subtextual dimensions are quite rewarding. The film fetishizes everything to the point of abstraction. The city of Tokyo becomes a gleaming morass of lights, skyscrapers and soullessness. A brutal and delicate work of art. Reviewed by CountZero313 5 / 10 powerful start meanders to bland finish Murakakmi's Tokyo Decadence starts out powerfully with an unflinching look at the shifts put in as a 'Delivery Health' (as these women get called in 21s century Japan) by hooker-with-a-heart-of-gold, Miho Nikaido. The crisp colours, seductive light and slowly dollying camera give a high productive sheen to the mesmerising scenes of Nikaido being humiliated by a Yakuza couple, then assisting a dominatrix in the wished-for degradation of one of her regular johns. Murakami seems to be highlighting the amorality of Bubble-rich Japan, his characters speechifying against the 'real' whores in the corporate and government fields. The sexual and comedy elements are well-balanced, the highlight being the lost dildo in the toilet scene. Nikaido shows an impressive range, both vulnerable in and enraptured by her line of work. She also enlivens a long walk with a wild-eyed look she achieves in the film's final third. However, her performance cannot rescue the meandering, insipid final episode when Nikaido goes in search of her true love. The introduction of a 'courage' pill is a clumsy plot device. The final section lacks clarity, and even continuity seems to be a minor concern. It is as if Murakami, having established his world so finely in the first half, is now at a loss regarding what he wants to say about it. A series of episodic and uninspiring tableaux plays out, the slightly surreal elements being the only thing that stops it from descending into an old-fashioned morality tale. Tokyo Decadence is a film of two halves, with the director only trying in the first. Read more IMDb reviews.

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