Tokyo Decadence is a 1992 Japanese drama film, directed by Ryu Murakami and starring Miho Nikaido. (All quotations are from the English subtitles.)
Ai (Japanese for “love”) is a 22-year-old professional submissive sex worker, adrift in 1990s Japan, lacking in direction.
Ai with client.
In the very first scene, Ai is tied up and naked. Her client tells her S&M is all about trust, but then blindfolds her despite her objections. He injects her with something, also apparently without her consent. (Drug use, both giving and receiving, is a recurring motif.)
In Ai’s scenes with her clients, she is awkward and passive, as if she wandered into a stage play and doesn’t know or understand the script. Clients impress their own ideas and archetypes upon her, more like a prop in their visions. Ai’s blank-ness may actually be an asset in her line of work, having little sense of self to interfere with her client’s fantasies.
The yakuza client has Ai pose in front of the skyscraper window.
The second client Ai sees, implicitly a Yakuza gangster, asks her about herself. She says:
Ai: I’ve discovered that I have no talent whatsoever.
After a scene with the gangster and his girlfriend, Ai pulls the bondage gear off and vigorously brushes her teeth. On her way out, the gangster overpays her and says to her:
Gangster: Don’t think you’ve no talent. That’s a cop-out.
Another client wants to be strangled by Ai and another escort while receiving oral. The two women think they accidentally killed him, and are astonished when he suddenly comes back to life.
Yet another client, who initially is friendly enough, proves to be a necrophile who wants to re-enact a specific rape and murder with Ai. When he tries to strangle her, Ai finally resists. He lets her go, but demands his money back. This puts Ai on thin ice with her manager.
Ai and Saki
On a threesome assignment, Ai meets Saki, a pro-dominatrix who deftly commands their masochistic male client (and Ai too). Saki shows the kind of confidence and control Ai lacks. Saki takes Ai to her lavish home, where they hang out. Saki proves to be a serious cocaine user (she snorts, injects and smokes it).
Ai: You must be wealthy.
Saki: Not really. It’s Japan that’s wealthy. But it’s wealth without pride. It creates anxiety, which drives our men into masochism. I’ve made my living out of these men.
Saki gives Ai an unspecified drug that will allegedly give her courage. After her night with Saki, Ai goes on a journey to find her former lover who married another woman, though it’s implied he actually died.
In a post-credit scene, Ai appears on stage, dressed in a Saki-like outfit. She signs something in sign language, then dances in a far more confident way.
Ai at her manager’s office.
I wouldn’t call Ai masochistic. She doesn’t embrace her experiences, but instead seems detached, even confused. It’s different from Lucy in Sleeping Beauty (2011); Ai seems like a person who has lost her way, and looks to others for direction. She watches Saki dominating the client like a person attending a university lecture that they just don’t understand.
BDSM in Tokyo Decadence is not a means to connection or intimacy. It’s a symptom of a dysfunctional society, of men (mostly) who have too much money for their own good, paralleled by the drug use (mostly cocaine and other stimulants) and the gourmet meals. Human connection is what’s missing, and what Ai searches for.
In the Realm of the Senses (aka Ai no Corrida, “Bullfight of Love”) is a 1976 Japanese-French film directed by Nagisa Oshima and starring Eiko Matsuda and Tatsuya Fuji.
The film is a fictionalized version of the true story of Sada Abe, who in 1936 Japan was arrested for the murder of her lover. She was found carrying his severed penis and testicles in her kimono. The film makes this a story of doomed lovers in a hostile world.
The documentary Bloodsisters (1995) about lesbian sadomasochists in San Francisco.
In The New Republic, they talk about the notorious “Project 2025” plan and particularly its emphasis on how “pornography should be outlawed.” The document doesn’t define pornography, but in practice it refers to anything that causes the “normalization” of “non-normative gender expression and identity among young people”. The neo-Puritan element is very strong in American politics right now, and I believe it poses a dire threat to not just queer people and abortion/contraception rights, but kinky people too.
Femina Ridens (aka The Laughing Woman, The Frightened Woman) is a 1969 Italian psychological drama, starring Philippe Leroy and Dagmar Lassander, and directed by Piero Schivazappa. IMDB
Dr. Sayer kidnaps Maria, a young woman, and locks her in his prison-like apartment, saying he will psychologically torture her into loving him, then kill her. Maria, however, is much more than she appears.
The Feeling That the Time for Doing Something Has Passed is a 2023 comedy-drama, directed and written by Joanna Arnow and starring Arnow, Scott Cohen and Babak Tafti. IMDB
Ann, a thirty-something woman in New York City, seeks relief from the difficulties with her job and family through submission to various men.
The Chicago Reader profiles the House of Milan, one of the oldest and best known purveyors of fetish clothing and other products. It tells of how it began as a boutique clothing store called Futura Fashions in 1964.
On Archive.org, I found what appears to be an English translation of Die Damen im Pelz (Those Ladies in Pelts), said to be a collection of German short stories published in 1920 by “Wanda von Sacher-Masoch”, aka Aurora von Rumelin, ex-wife of Leopold von Sacher-Masoch. I can’t vouch for the authenticity of this text or the translation.
Mary Harrington is a self-described “reactionary feminist” who has some maverick ideas that critique the idea of modernity being a positive for women, along with anti-trans, gender essentialist arguments. She has some odd takes on the relationship between politics and BDSM, arguing that the popularity of BDSM in our supposedly egalitarian society suggests we really want hierarchical relationships, or even suggesting that because hormonal contraception and abortion on demand has made sex inconsequential, we want sex with a degree of risk. E.g. “like contraceptive sex is like vegan bacon and bdsm is just like the hot sauce that you add to make it taste more like the real thing” (transcript) She’s part of a liberal-apostate wing of the neo-Puritan movement in the USA and UK.
Archive.org has a scan of an article from Bond magazine #3, published 1984, describing The Best S&M Show Ever at the Belle de Jour Theater in NYC.
Remedy is a 2013 drama directed by Cheyenne Picardo and written by Picardo et al.
A young woman known only by her nomme de domme, Remedy (Kira Davies), explores the world of professional domination and submission. She has some experience with BDSM at a night club, where she met a woman named Astrid, who hooked her up with a dungeon in NYC. Her motivation isn’t clear, whether it’s money or something else. (She has an unseen boyfriend and works as a children’s tutor.)
