Suzuki is perhaps the master of Camp cinema. The entire film from beginning to end is an exercise in stylization and artifice — including the plot. At her core Reiko only knows how to be a puppet for others - but the way in which this essential truth is exploited (as you would expect) is fascinating.
This has some of the best use of color in any film, and the performances — especially from Kyōko Enami’s villainous Kayo Senbo.
Brilliant marriage of form and function - with nary a boring moment or frame to be seen.