Japanese Rape Movie

Impulse Pictures presents 'Eros School: Feels So Good', possibly one of the most controversial and offensive Nikkatsu films ever made. Ryu (Murakuni Shohei), a sinister transfer student with a dark past, sexually assaults his way through his nubile female classmates to his ultimate conquest, the leggy athletic champ and class president Misa (Asami Ogawa). Tadao, a fellow classmate, is also in love with Misa and wants to take her virginity for himself. The big Eros High School track meet is happening soon. Will these two boys ruin her chance of winning?….

A pair of sexual maniacs are using experimental new drugs to rape,torture and kill the innocent girls that arouse them.Will a woman on the inside of the pharmaceutical company making them take them down or join in their debauchery?
Bad things are bound to happen…

This movie tells the story of a brutal gangster and rapist named Crimson. He is stalked by a trio of gay vigilantes. One night Crimson rapes a ballerina with the help of a young gas station worker. Crimson's accomplice can't climax, but his thoughts about rape are overwhelming. Soon the series of brutal rapes is set in motion…

The scars that have devolved on succeeding generations from the Japanese Imperial Army’s “Rape of Nanking” on the eve of World War II have gained prominence in the news of recent years. We recall how the Japanese government has only been able to go so far in recognizing a national culpability. A book of that title written by Iris Chang came into prominence three times at least – the first time upon publication in 1997, on the suicide of its author in 2004, and again at the release of an incendiary documentary inspired by her book in 2007, the year that it was at last published in a Japanese translation. Given raw feelings are on both sides 70 years after the destruction of the city, the prospect of a mainstream feature film dealing with that period is likely to be met with concern and trepidation. The wonder is that director Lu Chuan finds humanity in the suffering on both sides, and has made a film both impossible to watch and yet hypnotically seductive.

Oscar-winning director Florian Gallenberger explores the crucial role that foreigners played in helping countless Chinese escape a fate worse than death in this period docudrama concerning the 1937 invasion of Nanking by the ruthless Japanese Imperial Army. Casually known by historians as the "Rape of Nanking," the relentless assault on the then-Chinese capitol found countless men, women, and children slaughtered with a ferocity that shocked the entire world. Yet, despite the violence that surrounded them, some people refused to sit by silently as the innocents perished.
One of those people was German engineer and Nazi party member John Rabe, who earned the nickname "The Schindler of China" for constructing a vast safety zone in which nearly a quarter of a million civilians sought sanctuary.

An unidentified man, grimacing and sweating profusely, is pulled in half by two trucks to which his arms and legs are chained as another man, bound and gagged, watches in horror. So begins Gun Crazy: A Woman from Nowhere, director Atsushi Muroga's low-budget piece of East-West cinema incest. The film is essentially a remake of Sergio Leone's A Fistful of Dollars, replacing Clint Eastwood's Man With No Name with Saki, a leather-clad, Harley-riding, gun-toting heroine played by Japanese supermodel and television star, Ryoko Yonekura (Musashi). So, what we've got here is a straight-to-video Japanese actioner based on an Italian-made American genre piece, itself a remake of a classic Japanese film, Akira Kurosawa's Yojimbo. What's odd is Muroga riffs solely on Fistful, showing little or no awareness of its Japanese source. He even backs Saki's entrance and final shootout with a piece of music so similar to Ennio Morricone's familiar score it's probably a copyright violation. The windy, dusty shot of Saki's slow approach during the climactic duel evokes both Leone and Kurosawa, but only because the former borrowed so literally from the latter. The billowing of our heroine's leather overcoat, looking like the dusters in Once Upon a Time in the West, is pure homage to Leone.