Unknown Kino

Dracula Aema (드라큐라 애마) (1994)

2011-04-09T20:41:00.000-07:00

After 1982, Korea spawned a countless number of erotic movies, a genre that plagued the silver screen for over a decade. But since the government installed his “SSS” policy back in the early 80’s, it was only a matter of time before the cinema industry was flooded with sexy and steamy productions. The most famous series of them all is perhaps “Aema Buin”. It all started back in 1982 and went on through the late 90’s, the “Aema” series has now 12 official sequels and many unofficial ones as well as rip-offs.

Any films that bare the “Aema” title is always a curiosity, that’s why director Suk Do-won (Aema Buin 4,5,6,7,8 and 10) decided to make a move toward the horror and fantasy genre. He quite succeeded in mixing the exoticism of Korean beauty O No-a (Aema Buin 10) with the western lustful-horror myth of Dracula, which is actually portrayed by regular Aema Buin actor, Won Seok.

The story is about Hyun-woo, a computer geek who while working at night on a video project is suddenly thrown into a world of dreams and illusions (with the help of a CD he found on the beach) where he meets with the beautiful Aema (a new servant of Dracula himself). She then tells to Hyun-woo about her past where we discover she was savagely beaten by her boss and later gang-raped in a car by some delinquent rich kids. Through a series of spiritual illusions, Hyun-woo witnesses the beautiful Aema tracking down those who abused and killed her. Will Aema take her revenge and finally erase all those bad memories that are encrypted on that CD-Rom?

Dracula Aema provides enough suspense for its erotic counterpart but lack in the horror department. Of course we expect to see the fangs and the dripping blood but instead director Suk Do-won decided to stay faithful to the erotic guideline of the Aema Buin series. However, he definitely did a great job mastering the suspense. All those strange encounters that Hyun-woo has, leaves the viewer with something to think about, the dreamy aspect of those scenes are quite captivating and let’s not forget that the story takes place again on the beautiful Korean island of Jeju.

Some elements almost remind me of Hisayasu Sato's work, such as the use of some audio/video technology (here a computer and CD Rom). Visually, Dracula Aema is similar to the rest of the series with a good sense of framing and playful use of light, for example the evil presence is always manifested by a neon green aura, which makes the whole scene sexier. It is also, refreshing to see Won Soek again in an Aema movie but this time portraying the enigmatic and lustful Dracula. This is perhaps the best Korean-style personification of the western myth.

ORIGINAL TITLE
Deulakyula Aema

DIRECTOR
Suk Do-won

CAST

O No-a
Go Hyeong-jun
Won Seok

RELEASE DATE
1994

Women's Rage in Three Countries (삼국여한) (1982)

2010-11-27T21:10:00.000-08:00

In this great entry from 1980’s horror master director Kim In-soo (Festival of Fear, Public Cemetery of Grudges), we can anticipate excitement with the storytelling. First of all, this is a movie that is presented in 3 segments, a bit like Creepshow which came out at about the same period. Although directed by a Korean, this film tells the stories of 3 women/ghosts who are eager for revenge in 3 Asian countries, Korea, China and Japan. I must say that the first 2 stories were quite conventional technically and reminded me very much of the 60’s horror style because of their strong colors, long shadows, low key light etc. As for the last segment (Japan) it is perhaps to most gripping of all 3, it has great elements of fear and even some odd grand guignol effects such as a bloody severed head flying around or a traditional female ghost figure fighting against a samurai, all this with very tight action editing.

The first part happens in Korea during the Chosun Dynasty. After getting married to her very young groom (a child), Ok-nyeo is on the road with her husband when suddenly attacked by a group of bandits who kill the young groom. Ok-nyeo is then kidnapped and rape by the men. Later she awakes in a cave where the bandits brought her to Choi Wang-ryol who really likes her, but when he tries to have sex with her she kill herself by biting off her tongue. Afraid, Choi Wang-ryol escapes but first he dumps Ok-nyeo’s body in the stream nearby the cave then, her vengeful soul is out for blood.

The second part takes place in China where a wealthy man orders his servant to bring some girls to his house. He then choose one of them to have sex with but he suddenly start to experience some strange manifestations of a female ghost. That ghost was a woman he once killed but she is now reappearing whenever Mr. Wang wants to abuse a woman. In the final part, the story is set in feudal Japan.

A young man poisons his wife after making an evil plan with his mistress. Just when they thought their new love life was going well, the wife comes back as a ghost with a terrible grudge. Usually that type of omnibus focuses on horror and suspense but instead, Kim In-soo injects his little stories with lurid sensual scenes. This makes the viewer shift from fear to desire and vice-versa, changing the tone is a very common thing in Korean cinema. The whole is quite interesting and even sometimes very surprising as I mentioned but unfortunately, the movie loses steam during the second story due to some overacting comedic scenes.

I would recommend this one only for the final of the third episode since it’s something you see very rarely in Korean cinema (the flying severed heads). Finally, let’s not forget to mention the original use of cool eerie bloody visual effects mixed with a soundtrack that brings together traditional score and atmospheric synthesize

ORIGINAL TITLE

Samgug-yeohan

DIRECTOR
Kim In-soo

CAST

Park Am
Chung Kyoo-young
Hwang Kun

RELEASE DATE

1982

The Door to the Flesh (육체의 문) (1981)

2010-09-23T03:10:00.000-07:00

Not a bad thriller with an early appearance by actress Kim Hae-sook (The Headless Murderess / Thirst). Once again, a good tryout at the suspense genre featuring an innocent couple able to outsmart the police investigation, all this in a vivid color spectrum background giving it a surreal touch, perhaps the Korean answer to the Argento/DePalma style of the late 70’s. However, the story got somehow confusing until the very end which wasn’t much convincing and left some holes in the plot. Let’s not forget to mention the surprise ending, which was a trend at the time since Brian DePalma’s Carrie, but here it was a bit unnecessary.

Here we are dealing with one of the few Korean slasher movies, our protagonist are mid-twenties young girls on the verge of marriage, which is quite a contrast with their American counterpart who are usually teenagers on the lookout for parties and sex. Kim Hae-suk and her friends quit their factory jobs after discussing and head up for the big city hoping for a better life. Here again we have an opposite situation with the typical American slashers, the group arrive in a big city (Seoul) instead of going to the countryside. So, after living a few months in the city they all enjoy their happy life and start dating men. But the abundance and easy way of the city life is soon going to punish them for their arrogance. Later, one of the girls get married with a strange man. During their honeymoon, the couple have an argument and the husband who then become angry kill his wife and then commit suicide. From there, the police investigate on similar murders that start to happen among that group of girls. Here, murders are shown in the tradition of slasher films with all the false scares and sudden attacks from behind, the killer reveal to be the specter of the same man who commited suicide, he now stalks the other women to get revenge on “them” and also kills whoever is in the way. Later, Hae-suk and her boyfriend go to the morgue to check on the bodies of the victims and the killer, they notice that the corpse of the killer is missing. The vengeful specter of the killer starts chasing Hae-suk and her boyfriend in the laboratory building for the final showdown. At the end, Hae-suk’s boyfriend is in the shower and suddenly starts talking to the camera and say a very out of place but funny warning: “Women, if you are no treating your men with respect, the same thing might happen to you!”.

The Door to the Flesh possess something innovative among Korean films with its daring approach to the psycho thriller genre mixed with an equally researched soundtrack. Speaking of soundtrack, there are some particular sound-effects which turned out to be well mixed in the atmosphere as we can hear an echo of girls screaming whenever there is a scary or sudden moment. Overall, The Door to the Flesh as more to offer for the murder and mystery fan with a bit of horror rather than a supernatural thriller like the VHS cover suggest.

ORIGINAL TITLE
Yugche-ui mun

DIRECTOR
Lee Ki-hwan

CAST

Kim Ae-sook
Kim Seong-geun
LJang Il-sik

RELEASE DATE
1981

A Monstruous Corpse (괴시) (1980)

2010-08-28T01:41:00.000-07:00

Director Gang Beom-gu has an impressive background of dramas, action, crime, war movies and even anti-communist features. But he’s perhaps more famous for having co-directed the unofficial sequel of Game of Death, also called Tower of Death 2 with the legendary Hwang Jang Lee and choreographed by Yuen Woo-ping. So right after that big co-production, Gang Beom-gu directed this little unique gem of Korean horror cinema: Goesi (A Monstruous Corpse), with little financial help. The result is a rather interesting approach to the zombie genre but at the same time, suffers from being too much similar with the 1974 classic, Let Sleeping Corpses Lie. Veteran actor Park Am (Mandala, Hunting for Idiots, Iodo and Martyrs to name a few) can be seen as the police chief and gives his usual strong and convincing performance. That said, Goesi has all the elements of the typical horror film made at time in Europe, which is characterized by low key lighting with vivid colors, moody soundtrack and a terrified female protagonist who just can’t run away from the zombies who try to attack her. Speaking of zombies, this was Korea’s very first attempt at the genre.
The story revolves around 2 young people who met each other on a countryside road. Kang Myung was hitchhiking and was picked up by Su-ji on her way to see her brother-in-law. But when she arrives at her destination they find Su-ji’s brother-in-law dead. Soon the police start to suspect Kang Myung. Shocked and skeptical about the events, the dynamic duo decides to search the surrounding area. Kang Myung discovers that scientists are working at a lab with a supersonic transmitter. Soon, more strange things start to happen in the nearby forest. After looking around all day, Kang Myung and Su-ji decide to do further investigation in an old abandoned house where they are suddenly attacked by a horde of undead. Fans of gore elements easily found in Italian or other European productions will no doubt be slightly let down, but if you're in it for more than striking visuals, there's lots of enjoyment to be found here. Of course, Korean cinema is perhaps one of the fastest changing cinema industry I’ve ever seen, which is a direct reflection of their society. You can compare for example, monster movies such as The Flying monster (Bicheongoesu) with the Host and there is only 20 years between the 2, but visually and technically it looks more like 40! That’s what Korean cinema is all about, once you dig in the past you might find some movies that didn’t seem much interesting but in their social and political context they take a whole new dimension and therefore, are really enjoyable and fascinating.

ORIGINAL TITLE

Goesi (Goeshi)

DIRECTOR
Gang Beom-gu

CAST

Yu Gwang-ok
Park Am
Sin Chan-il

RELEASE DATE

1980

The Flying Monster (비천괴수) (1984)

2010-08-26T21:05:00.000-07:00

The Flying Monster is one good example of Korea’s attempt at the “Kaiju” genre back in the 80’s. Sadly the genre as died since Shin Hyun-ray last 2 films (Yonggari and D-War) which were epic failures. The Flying Monster is sheer fun and cheese, since back in the days everything had to be made with the traditional “man in the rubber suit”, so this movie has its laughable moments but also has a strong dramatic sub-plot to it (which is common to Korean productions). Of course the effects are dated and the scenario is fairly poor but you get to see some full scale battles mixed with ambitious city destruction which at the same time becomes a bit confusing since many monsters (some from the Ultraman series and others like a giant dragon from the Taiwanese production Monster from the Sea) appear at some point and start destroying everything with no rational explanation for it.

After Dr. Kim is gone missing trying to find dinosaurs traces, the young and pretty reporter Kang Ok-hi is sent by her chief editor to investigate on Dr. Kim's new theory. She disguises as a maid and searches Dr. Kim’s house to steal his thesis. During the day, Dr. Kim investigates about some archeological work nearby the coast and manages to discover dinosaurs footprints. Suddenly, a mysterious giant bird (who looks like a prehistoric bird with a chicken head) appears and some disastrous incidents occur one after another. Dr. Kim believes that the only way to prevent those is by destroying the bird’s eggs. He then starts to search for the eggs as new monsters appear and rampage the nearby cities.

Needless to say this was an attempt at a big comeback to the giant monster genre since the late 60’s but seems to have somehow failed at the box office. However, The Flying monster gained a cult status among the Korean sci-fi genre, since most of the similar production of that era were aimed at children and they were featuring a strong sense of comedy which is not a characteristic of The Flying Monster. In general, I must admit that this movie has a good suspense and some good ol’ special effects which must have been so much fun on the big screen back in the days.

ORIGINAL TITLE
Bicheongoesu

DIRECTOR
Kim Jung-yong

CAST

Kim Ki-ju
Nam Hye-gyeong
Kim Da-hye

RELEASE DATE

1984

Suddenly in the Dark (깊은밤 갑자기) (1981)

2010-08-26T00:16:00.000-07:00

Many Korean horror films like to depict stories about the Chosun Dynasty or other historical periods, but very few are about contemporary horror elements. Go Yeong-nam’s “Suddenly in Dark Night” is one good example of a strong and suspenseful horror story mixing oneirism and haunting traditional grudge. Having enjoyed a very good reception from critics and public upon it release, the story follow a couple in the downward spiral of their couple as a young and mysterious lady spend the holidays with them.

Mr. Kang is a leading specialist in Biology. One night he goes into some caves to take pictures of Insects and finds a rare breed of butterflies. The next day, he organizes a meeting with his friends to show them his discovery. The same night Kang’s wife, Sun-hi, starts to experience weird visions of strange wooden doll.

The couple than decide to go on vacation to their countryside house and they bring along the young, beautiful and innocent looking Mi-ok. However later that day, Sun-hi finds the same doll in Mi-ok’s belongings. That starts to make her feel strange and have a mixed feeling about the young lady, imagining her having a secret affair with her husband or ever perceive Mi-ok’s careless mind about chores as deliberate intentions that could lead to a fatal accident. Pushed on the edge of insanity after Kang refuse to believe that Mi-ok is a dangerous threat, Sun-hi decides to take actions against Mi-ok by killing her. But this only makes matters worse since the wooden doll is out for revenge.

The plot is somehow simple at first but have a sudden switch in halfway through, which make this film quite interesting. The acting is particularly good and gets even better towards the last quarter of the movie when Sun-hi totally turns mad. Let’s not forget about the unique soundtrack that mixes very well with the dream-like visual effects of hallucination (reminded me of some late 70’s Italian soundtracks). Despite a slow start, “Suddenly in the Dark” is a very entertaining and mysterious film from Go Yeong-nam. Another strong entry in South Korea’s horror movie repertoire.

ORIGINAL TITLE
Gip-eun bam gabjagi

DIRECTOR
Go Yeong-nam

CAST

Kim Young-ae
Yoon Il-bong
Lee Gi-seon

RELEASE DATE
1981

Akumekun (アクメくん妖艶大戦争) (1995)

2010-03-28T06:22:00.000-07:00

Takao Nakano’s Akumekun is everything you can expect from the cult director. You got the props, the parody, boobs and catfights and there you go! For those of you not familiar with the director’s work you can start off by having a look at the amazing Sumo Vixen which is perhaps Nakano’s most famous film (being released on VHS and DVD in the U.S.). Although some people may categorize his work as trash, I think it is quite hard to actually put Takao Nakano’s film in a specific genre, as it crosses many boundaries and goes far beyond the simple soft-erotic movie or plain silly action. As a matter fact Nakano’s film are very unusual as they always have really sexy catfight scenes (one might recall some Russ Meyer films) and a penchant for unique cosplay. So, if you put all this together along with movie parodies and sometimes crude video special effects you get some substantial cult material.

So here we have the story of a young man who meets with an old hermit and a witch (coming out of a coffee thermos) who help him fight evil forces, which are mostly personified by sexy and lustful girls. From that point, the movie is an homage to the famous 1960’s series Akumakun. But here Nakano chose a rather promiscuous approach, for that matter Akumekun refers to Acme which definitely as a perverted meaning in this film. Also, many details from the original series are portrait in Akumekun, such as the original black and white intro or some of the characters costumes. Akumekun is even edited as if it was featuring several episodes, to give the old series feeling. But what really shines in this film (just like in any Nakano films) is the cosplay and catfights. Here with this 1995 production, we are lucky to have a bit more flesh for our dollars compare with his turn of the century films, Akumekun is bold enough to feature lesbian scenes and some full nudity (sorry no frontal). It is not a porno of course, but on this department it could compete easily with any Nikkatsu movie of the genre. I have yet seen his Exorsister series which looks very wild and promising but I can only guess that since Akumekun was made right after, it might just follows the same path.
In conclusion, I highly recommend this more obscure Takao Nakano film as it gives a very guerrilla approach to video movie making and transcend the pure essence of Japanese underground cinema.

ORIGINAL TITLE
Akumekun

DIRECTOR
Takao Nakano

CAST
?

RELEASE DATE
1995

Aema Buin (애마부인) (1982)

2010-01-30T05:24:00.000-08:00

Aema Buin certainly achieved a cult status for being what we can call the “first” Korean erotic film. Of course in the past there were many attempts at the genre, but some were heavily censored and their directors had a few problems with the law. For example, Yu Hyun-mok’s “The Empty Dream” (1965) which is a remake of Tetsuji Takechi’s “Daydream” (1964), supposedly featured a few brief nude scenes and therefore the director was arrested and the movie was consequently cut/banned. It’s only after 1982 with the instauration of the 3S Policy (Sex, Screen, Sports)by president Chun Doo-hwan that the erotic genre made a boom in Korea and the Aema series became the pioneer. Here’s Aema Buin’s synopsis: Oh Su-bi's husband, Shin Hyun-wu, is in jail for involuntary homicide. For the past two years, Su-bi has visited her husband every week. Though she is anguished by Hyun-wu's affairs, Su-bi is unable to divorce him even though everyone thinks she should. While visiting her husband, Su-bi meets Kim Dong-yub, a student of art, and feels his sincerity. One day, Su-bi runs into an old boyfriend, Kim Mun-ho, who lives in the same apartment complex. They engage in an affair. However, Su-bi is unable to bear the perverted sexual preferences of Mun-ho. She goes to Dong-yub and engages in a pure love. Hyun-wu asks for a divorce. When Su-bi is in the country, Dong-yub comes to her and promises to take her to France. However, the day they are supposed to leave for France, Hyun-wu is released from jail on a special pardon. Though she was on her way to Dong-yub, Su-bi finds herself greeting Hyun-wu, unable to free herself from the shackles of marriage.
On another level, Aema buin also have a strong amoral point of view for the time. For instance,Oh Su-bi have an extra-marital relationship while her husband is in prison and later, she also flirt with a woman (in a scene where they almost kiss each other). She is even sexually abused by some neighbor, but takes pleasure in it. So, a few taboos are explored and well developed here. Sadly, on the sexual side we stay on our appetite for more flesh, especially if you compare with other productions at the time. Hong-Kong was producing some wild and sexy exploitation films and Japan already had a foot in the AV field. However, a strong point is that the main character played by the beautiful Ahn So-young is steaming with passion. She’s always perfectly framed with just a right amount of shadows, making her one of the cutest and sexiest actress of the 80’s. She was also featured in other great erotic productions of the time such as Kim Ki-young’s “Free Maiden (Jayucheonyeo)” (1982) and in Nam Gi-nam’s “Sexual Compatibility (Habgung)” (1988). Nevertheless, Aema Buin remains a pleasant and well crafted piece of erotica which brought no less than 12 sequels and countless rip-offs (which I will eventually review).

ORIGINAL TITLE
Aema Buin

DIRECTOR
Jeong In-yeob

CAST
Ahn So-young
Lim Dong-jin
Hah Myung-joong

RELEASE DATE
1982

The Oily Maniac (油鬼子) (1976)

2009-11-24T05:55:00.000-08:00

First, I have to admit that I was mostly attracted to this one due to the title and the amazing poster. Thank god I wasn’t wrong to pick it up, The Oily Maniac is one of those great B-movies that you come across very rarely, it just have everything to make it to any midnight-madness screenings. I was particularly happy when I saw the cool studio outdoor set mixed with the Technicolor lighting effects and all this in glorious 2.35:1 widescreen. Now, throw in a young Danny Lee, an over the top story and some boobs and you get a wild ride from the Shaw Brothers studio (which are mostly known for their kung-fu flicks).

So here's the story: A father, his daughter and a friend of the family, Li Hsiu-hsien, own a coconut-oil company. They get in trouble when criminals want to take over their business. The father is thrown in prison. The daughter and the cripple, Li Hsiu-hsien, are left behind. When the daughter fails to return the love of Li he turns to a magic spell to become strong.

The spell transforms him into an oily monster/superhero that kills criminals. Li, while working in a law firm, stumbles upon a plot from his boss to steal the coconut-oil company. After the criminals killed his love he goes on a killing spree to have his revenge. As the powerful oily maniac he is impossible to kill, and is able to transform himself into a pool of oil to hunt down the killers.

Of course the costume for the monster is as good as any alien creature out of a Star-Trek episode from the 60’s but hey! It’s a monster made out of oil, so what do you expect? Added to that, our hero/vigilante has many superhuman abilities but the fun part is you can clearly see that the actor can barely move in that costume, reminding me of Michael Keaton in 1989 Batman. Another surprising aspect of that movie is how accurate and fast every event happen for example, when Li Hsiu-hsien (Danny Lee) asks to the girl he likes if she loves him and she answers that she already have someone, then 2 seconds later that “someone” just arrive at home and kisses the girl right in front of the poor Li. If that wasn’t enough, Li decides to leave the house to go back home (it then starts raining), but he suddenly decides to have a peek back at the house only to witness them making love on the bed (that is 10 seconds after he left). The Oily maniac is full of surprises and it also has a misogynistic aura to it, which we don’t see very often in movies nowadays.

ORIGINAL TITLE
You Gui Zi

DIRECTOR
Meng Hua Ho

CAST
Danny Lee
Ping Chen
Tien Lung Chen

RELEASE DATE
1976

Noble Lady bound Vase (団鬼六「黒い鬼火」より　貴婦人縛り壺) (1977)

2009-10-28T08:40:00.000-07:00

With Pinku director Masaru Konuma in command (Wife to be Sacrificed, Woman in a Box and Flower and Snakes), Noble Lady Bound Vase exploit a respectable level of SM and sexual humiliation. Added to this is participation of Naomi Tani in the main role, who as long reached the cult status of “bondage queen” in Japanese cinema.

Set in 1928, Noble Lady Bound Vase tells the story of Naniji (Naomi Tani) who was sold by her father to a wealthy land owner in order to pay off his depts. But we very soon discover that Naniji’s husband is a depraved and perverted man, who’s into bondage, torture and humiliation (for the viewer's excitement). She assumed her wife’s role but without any enjoyment while her husband only take advantage of her as he likes. Six months passes and the husband’s nymphomaniac sister comes for a visit and she begin to spy on the couple’s relationship when she catches Nanji passing a message to a lover via one young male housekeeper. The sister than tattle the whole story to her brother, and both wife and the young man are captured. This will lead to a series of sexual humiliation. Later, since Nanji doesn’t want to show any remorse for act her husband invite the presumed lover to witness the shameful punishments he’s been inflicting to his wife.

Although not that innovative in both the execution or in the torture department, Noble Lady Bound Vase manages and succeeds in mixing-up the audience feelings throughout the film. For instance, we do want the bad husband to be punished or the passionate lover to finally get Naniji for wife but none of this happen (or barely) instead, Konuma decides to confront the spectator and force him to eventually like his so detestable villains and have pity and admiration for them.

Another aspect of the film I can’t neglect is the symbolic use of monkeys. Naniji’s husband hysterically yells at her lover (who can’t let go of her and still wants to marry her): “That’s good! Then you’ll have a monkey wedding!” From there, chaos once again surface as Naniji’s husband interrupt the wedding to drag his wife outside in the rain and have sex with her tied to a post, all this with the poor lover left watching. The monkeys are always shown alone and observing human behaviors, we can see them watching the husband having sex with his wife and later looking at the young servant masturbating. But those monkeys ultimately end up together in a cage in one of the house’s room (the same room and cage where Naniji and the servant were kept and tortured). The other interesting aspect is that we can clearly see that they are tied to each other by a red ribbon, the same ribbon that we see hanging from that same room window. Here the monkeys could be interpreted as a direct reflection of the couple relationship, their fate is finally linked as they are no longer learning but instead accomplice to each other.

In itself, despite some rather strong scenes of bondage, Noble Lady Bound Vase has a somehow interesting way of depicting the quiet and peaceful countryside. Konuma first show the natural calmness of it, but later make us discover the rudeness and weirdness of its people (a mentally challenged young pregnant woman, the perverted neighbors, a sadistic servant, etc). It is also quite interesting to see how the director manipulates the image of the typical countrymen and makes us believe that they are over-traditional people who still live by the codes and laws of Edo period. Again, all this for the viewer’s pleasure.

ORIGINAL TITLE

Kifujin Shibari Tsubo

DIRECTOR

Masaru Konuma

CAST

Akira Hanagami

Hitoshi Takagi
Naomi Tani

RELEASE DATE
1977

Welcome!

2009-10-08T08:19:00.000-07:00

Hi and welcome to "Unknown Kino". This blog will be specialized in unknown to little known movies from around the world but will focus especially on Asian cinema. Among the first entries to be reviewed are the infamous Aema Buin series from South Korea and a few nasty Pinku from Japan.

Stay Tuned!

Unknown Kino

Dracula Aema (드라큐라 애마) (1994)

Women's Rage in Three Countries (삼국여한) (1982)

The Door to the Flesh (육체의 문) (1981)

A Monstruous Corpse (괴시) (1980)

The Flying Monster (비천괴수) (1984)

Suddenly in the Dark (깊은밤 갑자기) (1981)

Akumekun (アクメくん 妖艶大戦争) (1995)

Aema Buin (애마부인) (1982)

The Oily Maniac (油鬼子) (1976)

Noble Lady bound Vase (団鬼六「黒い鬼火」より 貴婦人縛り壺) (1977)

Welcome!

Akumekun (アクメくん妖艶大戦争) (1995)

Noble Lady bound Vase (団鬼六「黒い鬼火」より　貴婦人縛り壺) (1977)