Shin irogoyomi ooku hiwa yawahada kenjo (1972)

Ooku Hiwa is the first girl you see — long black hair, slim frame, barely dressed, kissing another skinny Asian girl with short dark hair in a bedroom lit by a single warm lamp. They’re all over each other, tongues deep, hands sliding down backs, but it doesn’t go further than heavy making out in that scene. Cut to a traditional Japanese room with tatami mats, where Ooku reappears, now lying down with Yawahada Kenjo, the male performer with short black hair and a lean build. They’re wrapped together, barely moving, just holding each other like they’re waiting for something. The lighting stays soft and dim throughout, almost like it’s dusk, with long static shots that linger on skin contact — hands on arms, fingers tracing shoulders. Earlier, there’s a weird non-sexual scene with two guys in the same room, one in a topknot, talking near a sword display, no tension, just atmosphere. Camera work is slow and deliberate, wide angles showing the full room, then tight close-ups on mouths, necks, and bare shoulders. Most of the actual sex is implied rather than shown — a lot of lying together, tangled limbs, quiet moments, but no penetration or hardcore action visible in these frames.