The German-based distributor Rapid Eye Movies has announced its first co-production deal with the Japanese pink production company Kokuei. Going under the working title of Underwater Love, the film is to be directed by Shinji Imaoka, to my mind one of the more interesting of the latest generation making films at the company, one of a group of seven directors labeled by Japanese critics as the Shichifukujin (or Seven Lucky Gods) – although it should be added that several of them  are no longer directing pink films. Interestingly, the legendary Australian cinematographer Christopher Doyle, renowned for his beautiful visuals in Wong Kar Wai’s films as well as his behind-the-scenes hell-raising, is slated to shoot the film, so it is certainly going to look a whole lot better than your average contemporary pink film. I’d imagine the budget will be higher and the shooting schedule longer than the norm too, as this project has been long gestating, at least since Imaoka’s last visit to Nippon Connection back in 2007 with his Uncle’s Paradise (at least, I think this was his last visit, as his geriatric pinku Tender Throbbing Twilight screened in 2008, although I can’t remember him being there that time). I know the script went through quite a few drafts, with my Midnight Eye stablemate Tom Mes working on at least one of these.

Shinji Imaoka's Frog Song (2007)

Imaoka’s films seems to be the most widely screened aborad out of all contemporary pink filmmakers. I know Nippon Connection also showed Lunchbox (2003), as well as the two aforementioned titles, and I’ve also programmed all of these three at Raindance. It seems there’s quite a bit of excitement as the film is going to be a Bollywood-style musical, a natural step as Rapid Eye Movies have apparently fared pretty well with their Bollywood releases in Germany. This isn’t such a new thing though, as those who know Imaoka’s work will know; his 2007 film Frog Song culminated in an impromptu song and dance number just outside the exit of Shimokitazawa station (I can’t remember offhand if this particular title played many festivals, although it did get a UK DVD release from Sacrament).

Needless to say, you can find out a whole lot more about Imaoka, the production company Kokuei and the pink industry in general in Behind the Pink Curtain. For those who have yet to be introduced to this weird and wonderful world, allow me to point you in the direction of the US distributor Pink Eiga, who have released numerous works from the past couple of years since around the time my book was published – those who’ve been at some of the pink retros I’ve curated since then probably still bare the scars of the outrageous S&M Hunter. Their two latest releases, the pinku period drama Ninja Pussy Cat and the sci-fi (?!) skinflick Deep Contact provide ample evidence of the diversity and shee entertainment of the genre, though for my money you don’t get much more bang for your buck than The Japanese Wife Next Door by Yutaka Ikejima, considered the industry’s hottest director – I wrote a little bit about this film and its companion piece in my book, under its translated Japanese title Family Gets Rude (parts one and two).

The unforgettable S&M Hunter

And finally, while we’re still on the subject of Pink Eiga, those in Paris this week will probably want to check out the second Sexy International Paris Film Festival (SIPFF), which is showing two of the company’s finest releases, A Lonely Cow Weeps at Dawn and Blind Love.