Erotic Film Review: Vibrator

Ryuichi Hiroki's Vibrator (2003) is a Japanese erotic-drama, examining the interplay of mental illness and female sexuality. Centres on Rei Hayakawa (played by Shinobu Terajima), a freelance reporter, suffering from bulimia and a severely fractured mental state. Vibrator begins with Rei wandering through a convenient store in search of alcohol, offers her temporary respite from her insomnia and the voice in her head, which narrates over the duration of the scene and intermittently throughout the film. What Rei stops in her tracks is the sight of Okabe (Nao Omori), a truck driver for whom she feels an instant desire (expressed via an intercut title-card). Abandoning her grocery basket in the aisle, Rei follows him out of the store and into his truck. After an awkward exchange, they have sex, and the next day, Rei finds herself embarking on a mentally-curative road-trip across Japan with the stranger.

One of Vibrators' most exceptional points is Hiroki's use of cinematographic techniques to convey the faltering psychology of Rei. The brisk editing and jarring hand-held camera style, at the beginning of the film, masterfully depict Rei's unhinged nature and contrast heavily against the more disciplined shot composition as her mind begins to heal. The camera work isn't merely a means to communicate the narrative but also mark the emotional state and mental progression of the character.

Though Vibrator is undoubtedly an erotic film, it is notable for being one mostly devoid of a male gaze. Vibrators' narrative uses sex as a medium through which Rei can purge herself of insecurities and purify her mind. This is incorporated into the construction of the films erotic scenes. The framing, intimate (almost claustrophobic) locations and acts themselves (all inter-titled with Rei's thoughts), are a far cry from the stylised eroticism typical in Hiroki's earlier pink film. Coupled with a particularly skilled and vulnerable performance by Hayakawa, and this positions the audience to understand and empathise with her rather than gaze at her with titillation.

Traditional Japanese (Kishōtenketsu) narrative structure, Vibrator does not have a source of conflict, rather it relies on exposition and contrast to generate interest ^{(Dena, 2018)}. As such the film may lack much in the way of a dramatic dynamic range and may lose altitude for western audiences whose narratives traditionally demand change and conflict ^{(Cutting, 2016)}.

Ryuichi Hiroki's Vibrator (2004) film refuses to conform to traditional genre beats and skilful use of cinematic techniques that firmly and effectively depicts one of the most honest depictions of sexuality and mental illness to date.

CITATIONS

Cutting, J. (2016). Narrative theory and the dynamics of popular movies. Psychonomic Bulletin & Review, [online] 23(6), pp.1713-1743.
Dena, C. (2018). How Creative Processes Are Adapting to Change The World. Revista De La AsociacióN EspañOla De InvestigacióN De La ComunicacióN, 5(9), 1-9.