Yoru ga mata kuru (1994)

The girl’s got long black hair, a thin frame, and visible tattoos — one near her hip that shows up when she moves. She’s on the couch first, legs bent, looking pensive, then gets close-up against a wall in partial shadow, face half-lit under blue light. The guy shows up wearing a mask, sitting beside her on the couch while he smokes — doesn’t say anything, just stares. Later they’re on a bed, under dim light, both fully naked, moving slowly at first, then he’s on top in missionary, pounding her with steady thrusts. She takes it quietly, no exaggerated moans, just breathing and shifting underneath him. The camera lingers on full-body shots, mostly wide or mid-range, nothing too extreme in angle — feels more like voyeurism than performance.