In terms of the mainstream cinema industry, the AV (“adult video”) world is viewed with suspicion and distain. AV is where unlucky women end up after having the misfortune to encounter unscrupulous yakuza or be born to feckless parents whose debts they are forced to pay with their bodies. However, mainstream cinema perhaps has a reason to demonise its rival on top of reflecting persistent social stigmas relating to the expression of sexuality. Takahisa Zeze began his career in “pink film”, which is to say softcore pornography, and casts a non-judgemental eye over the modern hardcore porn scene in The Lowlife (最低, Saitei), adapting a novel by AV actress and gravure model Mana Sakura which explores the lives of three women who each have been impacted by the industry.
The first two of our heroines – college dropout Ayano (Kokone Sasaki), and melancholy housewife Miho (Ayano Moriguchi), have made a free choice to enter the AV industry mostly out of loneliness and insecurity. Ayano, who claims to be the only “ugly” one among her many sisters, is convinced to take part in a porn shoot by an unscrupulous boyfriend but finds herself reassured in being adored by the camera and appreciated on set, if only briefly. Miho, meanwhile, is trapped in an unsatisfying marriage to a man who has begun sleeping in his study and continually puts off the discussion of starting a family despite Miho’s intense desire to become a mother. Checking on her husband one morning she is dismayed to find a porn DVD in the open tray of his laptop which feels like a double betrayal in that he has obviously not been “working” all night and has avoided intimacy with her while finding release somewhere else. Irritated, Miho takes the extreme decision of becoming a porn star herself as a strange kind of revenge and motion towards personal fulfilment.
Our third heroine, Ayako (Aina Yamada), however, is looking at the same problem from a different angle in that she is daughter of a single-mother who had previously worked in the porn industry before returning home to her own single-mother to start again and raise her daughter. Takako (Saki Takaoka) is a difficult, flighty woman who still likes to live the high life drinking with random guys and rolling in late or sometimes not at all to the constant worry of her anxious daughter. A gifted artist, Ayako is a shy, gloomy girl who finds it hard to connect with her peers and resents her mother for her unconventional lifestyle. Her problems intensify when she wins a prominent art prize and irritates a classmate who seems to be stalking her causing him to spread the rumour of Takako’s past all over the school.
Social stigma is indeed one of the main problems each of the women face. Ayano, who seems to be otherwise happy enough with her life AV, gets an unexpected visit from her concerned mother and scornful sister when someone presumably spots her in a video and decides to have a word. As Ayano points out to her annoyingly judgemental sister, that means whoever told them just outed themselves as an AV-watcher so perhaps she should ask her boyfriend about that before making sarky comments. Nevertheless, nobody really says anything about the men who consume pornography, only about the “immoral” women who star in them. Ayano’s mother Izumi (Makiko Watanabe) blames herself, complaining that Ayano was the only one of her daughters she never quite bonded with, by turns angry with her for “shaming” the family and concerned that she has “thrown her life away” by becoming forever tainted with the stigma of having been involved in the sex industry.
Corrupted maternity becomes a somewhat uncomfortable theme as each of the women assesses their relationships with other women in the context of the traditional family. Having given up work and become a housewife as society expects, Miho has done everything right but is intensely unhappy because her husband will not move to the next step by starting a family. At 35, she feels her life stagnating, that everything is already settled and nothing will change from now until the time she dies. Neglected by a husband who seems to have lost interest in her as a woman as well as in their shared endeavour of building a home, she finds herself drawn to AV as a path to sexual fulfilment which isn’t really infidelity while also subverting her image of superficial perfection and embracing another identity outside of the home. She remains, however, conflicted as she gazes jealously at a happy family out on holiday at the pleasant mountain lodge where they’ll shoot the movie away from prying eyes. Her involvement in AV is, in a way, also an act of self harm as she punishes herself for her inability to become a mother, while also getting back at her disinterested husband.
Even so, Zeze is careful to frame the AV industry in a positive light. On arrival at the agency, Miho is greeted by an extremely sensitive and sympathetic manager who does his best to ease her concerns while making her feel safe at her most vulnerable. Having felt so neglected and lonely at home, the AV world provides her with a place that she is appreciated, desired as a woman and treated like a star. Similarly, Ayano who had believed herself “ugly” and unlovable begins to gain confidence in herself thanks to being appreciated by the camera, eventually striking up a relationship with a nice guy journalist in a bar which seems like it might develop into something more. While some might argue that the industry is merely exploiting feminine insecurities, it cannot be denied that both women find in it a path towards self acceptance and actualisation.
Despite the fiercely non-judgemental tone, a late plot twist further casts Miho’s transgression as a fall rather than a rise while an eventual connection with Ayako further deepens the maternal subtext as she completes the circle by mothering the lost young woman trying to come to terms with her atypical family situation. Ayako’s grandmother too seems to prescribe motherhood as the answer to all life’s mysteries even if the answer is often that they can’t be solved and all that remains is the urgency of living. Zeze’s depiction of the porn industry might be a rosy one glossing over the seamier side in favour of presenting a world built on empowerment rather than exploitation, but its infinitely sympathetic eye makes plain that porn is just a job like any other and the women who work in it do not deserve the scorn that society often chooses to heap on them.
Original trailer (no subtitles)