'Pervert Ward: S&M Clinic' (1989) - Hisayasu Sato.

It's not too long into this singularly unfiltered, deliriously explicit film that the viewer can bluntly appreciate that there is an aggressively abrasive, disturbingly outre, convention-tweaking atmosphere to director Sato's unhinged 'Pervert Ward: S&M clinic' that is quite specifically, and somewhat stylishly designed to actively repel those unsympathetic to such nakedly provocative, downright debasing sexual imagery, or might greatly stimulate any of those voyeurs who are more in sync with the salaciously sadistic psychologist, Dr. Yazukazu Mizumura (Kazahiro Sano) and the strident, systematic abuses of his sensitive, long-suffering wife (Kiyumi Ito) who actively doesn't share her increasingly depraved husband's sordid passion to inflict tremendous discomfort upon his tightly bound, cruelly incapacitated subordinates.

Once his wife has left her monstrously sadistic husband, Sato's unremittingly stark and morbidly fascinating film becomes an infinitely darker, more explicitly twisted proposition, as under an assumed name her demonstratively masochistic sister enrols for some of Mizamura's 'esoteric therapy', only too eager to discover that the good doctor has a savage penchant for intense sexual torture, shibari bondage, brutal suffocation fantasies; plastic wrap bondage and an especially crude facility for improvised cruelty with any number of household implements! Manifesting her macabre fetish for surgically sharp knives, she zealously expresses her dangerously neurotic desire to relieve/recreate a, perhaps, wholly imaginary natal procedure which increases her willingness to endure all the submissive torment that the inventively disturbed, Dr. Mizumura is only too mustard keen to perpetrate!

Like all of, Hisayasu Sato's films I have had the enormous pleasure of seeing thus far, 'Pervert Ward: S&M Clinic' is exhilaratingly extreme and perhaps not for those with more reactionary sensibilities, but there can be absolutely no doubting the profound integrity and visual dynamism of gifted director Sato, and the cast's bravura performances are wonderfully unrestrained, which is, er, somewhat ironic.