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Hoa Và Rắn - Flower And Snake - Hana To Hebi, Flower And Snake - Hana To Hebi 2004 Part 1 The storyline revolves around the fate of Shizuko (Sugimoto Aya), the trophy wife of Tooyama Takayoshi (Nomura Hironobu) whose unethical business practices have made him vulnerable to the control of the elderly yakuza boss Ippei Tashiro (Ishibashi Renji). When Ippei catches a glimpse of Tooyama’s beautiful wife, he orchestrates a blackmail scheme whereby Shizuko is inevitably sold to the yakuza.Shizuko is then subjected to a variety of sexual tortures all conducted before a gawking audience of masked and robed males who have paid an exorbitant amount to attend such shows. The prior victim of the perverse entertainment had obviously died through the experience, and throughout her ordeal, Shizuko is threatened with her own death or the death of those she cares about. Her outrageous ordeals on stage, comprised of about a dozen different sexual tortures and a sailor’s catalog of rope and knot variations, constitute the majority of this film’s “storyline”. Thus viewers of the film are treated as if they were one of the masked audience, voyeuristically experiencing (and presumably entertained by) one degrading scenario after another.Finally, through sheer humiliation and exhaustion, her will is broken and she becomes the instrument of Ippei’s intended fantasy.

Hoa Và Rắn - Flower And Snake - Hana To Hebi, Flower And Snake - Hana To Hebi 2004 Part 1

The storyline revolves around the fate of Shizuko (Sugimoto Aya), the trophy wife of Tooyama Takayoshi (Nomura Hironobu) whose unethical business practices have made him vulnerable to the control of the elderly yakuza boss Ippei Tashiro (Ishibashi Renji). When Ippei catches a glimpse of Tooyama’s beautiful wife, he orchestrates a blackmail scheme whereby Shizuko is inevitably sold to the yakuza.Shizuko is then subjected to a variety of sexual tortures all conducted before a gawking audience of masked and robed males who have paid an exorbitant amount to attend such shows. The prior victim of the perverse entertainment had obviously died through the experience, and throughout her ordeal, Shizuko is threatened with her own death or the death of those she cares about. Her outrageous ordeals on stage, comprised of about a dozen different sexual tortures and a sailor’s catalog of rope and knot variations, constitute the majority of this film’s “storyline”. Thus viewers of the film are treated as if they were one of the masked audience, voyeuristically experiencing (and presumably entertained by) one degrading scenario after another.Finally, through sheer humiliation and exhaustion, her will is broken and she becomes the instrument of Ippei’s intended fantasy.