In The Pornographers, 1966, Shôhei Imamura manages to juggle intelligently with universal taboos (pornography, prostitution, incest, fetishism, orgies) challenging the viewer to think than just to consume the visual product by using minimum of nudity; the provocative situations are discretely suggested and not viscerally exposed, and it works because it is impossible to accuse of cheapness or exploitation such an interesting smart cinematographic approach on the subject of sex in a Japanese society full of contrasts, caught in-between the conservative ways of the past and the effervescence of the corrupt morals of the modern era; sex and money are the spinning wheels of the human convoy routing and sinking it into moral and physical decay; the film abounds in visual oddities, bizarre shooting angles providing its aesthetic a brisk geometry, intriguing spontaneous flashbacks, inspired touches of black comedy, and finds an equilibrate formula to wisely highlight subjects considered dirty and shameful in a very clean, frank, witty and somehow cheerful manner
