I.K.U.

The Nipponese sci-fi cyberporn feature "I.K.U." (a pun that roughly means "I'm coming, coming!") expends exhaustive visual imagination on its various couplings, triplings and so forth. Nevertheless, usual skin-pic reservations apply: The genre's required proportion of repetitious actions and images vs. slim-to-nil plot or character input ultimately makes this more high-end functional product than watchable narrative art. In udder woids: Tee hee ... zzzzz. Walkouts ran high during pic's Sundance screenings, and while porn is indeed an infrequent Park City presence, that response can be chalked up far more to aud boredom than moral outrage.

The Nipponese sci-fi cyberporn feature “I.K.U.” (a pun that roughly means “I’m coming, coming!”) expends exhaustive visual imagination on its various couplings, triplings and so forth. Nevertheless, usual skin-pic reservations apply: The genre’s required proportion of repetitious actions and images vs. slim-to-nil plot or character input ultimately makes this more high-end functional product than watchable narrative art. In udder woids: Tee hee … zzzzz. Walkouts ran high during pic’s Sundance screenings, and while porn is indeed an infrequent Park City presence, that response can be chalked up far more to aud boredom than moral outrage.

Opening crawl informs us that early in 21st century, a multinational corporation has created nearly human robots whose mission is to gather data on “orgasmic exploration” in all its forms. It’s a tough job, but someone’s gotta do it. Hence insatiable workaholic Reiko (Tokitoh Ayumu) runs around futuristic op-art settings aiding and abetting all coitus. That setup aside, story is nonexistent, dialogue largely nonsensical phrases in Japanese and English.

Outre computer graphics, striking compositions, “Clockwork Orange”-esque production design and fleeting animation make “I.K.U.” nonstop eye candy, with saturated colors in digital lensing and hyperkinetic cutting. There’s humor here (e.g., an underwear vending machine) as well as a surprising diversity of gender-preference action. In a departure from most Japanese porn, genitalia is not visually obscured, though most sex appears simulated.

Despite (or because of) its ceaseless, dizzying design stimulus, feature will quickly wear out all but the most dedicated genre fan. It does have cult potential among more fringe-oriented hardtops, and pic would make a great background projection at your next rave-cum-orgy. Performers, culled mostly from Nipponese erotic film industry, are duly toned and over-the-top. Tech package is cutting-edge.

I.K.U.

(JAPAN)

Production: An Uplink production. Produced by Asai Takashi. Directed by Shu Lea Cheang. Screenplay, Cheang with XXX, based on a story by Asai Takashi, Cheang.

Crew: Camera (color, digital video), Kamoto Tesuya; editor, Shirao Kazuhiro; music, the Saboten; music supervisor, Hoppy Kazuhiro; production designer, Sasaki Takashi; costumes, Ito Kei; computerized visual effects, VJ E-Male. Reviewed at Sundance Film Festival (Midnight), Jan. 29, 2000 . Running time: 92 MIN.

With: With: Tokitoh Ayumu, Zachery Nataf, Akechi Denki, Yumeno Maria, Sasaki Yumeka , Ariga Miho, Asou Myu, Tchuchida Etuyo, Tsousie, Mash, Aja, Akira.

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