Nureki Chimuo Archive

The place where I was convinced we had to film “The Secret Footage of Married Woman Hide Ishitani” was this bar tucked away in a back alley of Ginza. In terms of atmosphere and mood, it was absolutely perfect for an SM vibe, but the interior was cramped.

Cramped, yet it exuded a unique sense of being a closed room.

But precisely because it was cramped, no one would ever think to shoot footage here.

First, the number of staff needed for filming would be severely limited. There’s simply no room for equipment.

Because it’s cramped, you can’t achieve the precise lighting typical of AV-style videos.

Because it’s cramped, the angles the cameraman could aim for would be extremely restricted.

Basically, the cameraman couldn’t move around busily here and there.

As a result, it is impossible to shoot with the formulaic, predetermined compositions seen in AV-style SM videos.

“I can’t work in a place this cramped,” some cameramen would likely shake their heads from the start.

In any case, there are many technical constraints.

But that’s where my advantage lies.

The viewers (the enthusiasts), have actually been thoroughly bored for years by the rigid, overly familiar angles, lighting, and the endless array of easy poses commanded of the models in those AV-style videos, which represent the very pinnacle of formulaic, hackneyed mannerism.

The producers are unaware of the feelings of these many enthusiasts.

They probably aren’t completely unaware, but they don’t grasp that enthusiasts have reached a state bordering on despair toward the existing footage.

They continue producing within their familiar shooting techniques and rigidly fixed, simplistic SM imagery.

For true enthusiasts, such footage no longer provides any stimulation. Of course, it offers no sense of novelty either.

For many enthusiasts, SM footage that has lost its true SM spirit is less than a fart when it comes to stimulation.

No matter how brightly or beautifully you film a naked woman bound, it fails to deliver any shock, stimulation, or emotion to the hearts of enthusiasts.

First off, trying to film a bound woman (or a woman being bound) with bright makeup and make her look pretty is fundamentally wrong.

It’s only natural that AV-style SM videos, which persistently use the same unoriginal settings, make women strike the same unchanging poses, and shoot with the same lighting and angles, are turned away from by many enthusiasts.

And as I write this without mincing words, I can hear the applause of agreement from countless film enthusiasts ringing in my ears.

The creators probably can’t hear it, but I can.

At the same time, I can hear the creators’ mocking laughter directed at us.

“We don’t care if we’re ignored by the enthusiasts. We’re not catering to a minority of enthusiasts anyway. We just need people other than enthusiasts to buy our stuff. We can’t keep pandering to the minority all the time.

From a purely business perspective, this is probably sound reasoning. No, I can’t say that’s wrong.

They also say things like this.

“We’re not making this just for the enthusiasts. Even people who aren’t enthusiasts themselves might be interested in the reality of these particular fetishes. They buy this kind of

footage out of curiosity and voyeurism. We target those people, which is why it works commercially.”

This, too, is probably a valid point.

I have no words to counter it.

Oh, here we go again, before I knew it, I’d gone way off track.

What was I trying to say?

While chatting away, I’ve even forgotten what I was going to say.

Even for a “Talking Theater,” this is just too much.

I need to get back on track.

I was writing this piece addressed to Ako, the female editor.

This is a “shooting memo” for Ako, my collaborator on this project and someone who understands my intentions.

My plan is to have Ako handle the overall production of the “Secret Footage of Married Woman Hide Ishitani” shoot, and if possible, even get her to be the camerawoman.

To repeat, this Ako is the one who appeared in the Kawade Bunko “Reader-Submitted Secret Footage” and filmed Hiromi Saotome, whom I had tied up, with a video camera.

Her sense for filming bound female bodies has been proven.

At this stage, this project is still just a concept.

Whether it will materialize or not remains uncertain.

If we don’t make it happen soon, Hide Ishitani, who is currently willing to participate, might change her mind and say something like, “I’ve changed my mind. I don’t want to to do something so embarrassing. I don’t want any footage of me left behind.”

If that happens, everything will be for naught. This is exactly what I meant when I wrote before, “strike while the iron is hot.”

Fantasizing about the moment it becomes reality, I excitedly write down my “dream” in this form, like a “shooting memo.” Ako.

In this cramped bar where noses nearly bump together, wouldn’t you like to see how fiercely and innovatively I bind Hide Ishitani, making the most of this confined space? Wouldn’t you like to film it?

Let me show you. Let me film it.

Ako will have a hard time filming, bumping her head, shoulders, and hips against the counter and the corners of the liquor shelves, but the restricted movements of that camerawoman will surely create angles of unprecedented realism that will shock the enthusiasts.

There’s no need for lights to cast clean shadows on a woman’s body.

Even if you fill every gap with bright, perfect lighting, it just looks fake, doesn’t it?

Lighting that illuminates every inch of the model’s body has nothing to do with SM. It’s just fake.

It’s irrelevant and artificial, and it only detracts from the mood.

Even if there are many dark areas, that’s perfectly fine.

Let the parts the enthusiasts want to see stay dark and hidden. If you deliberately shine a light there, the SM aura vanishes completely.

“Show me the rope marks on her wrists better!” Even if the enthusiasts scream for it, you don’t show them.

Not showing it is more erotic. It’s more stimulating. Eroticism is fantasy.

People incapable of fantasy aren’t qualified to be bondage enthusiasts.

I’ve repeatedly written many times before, in various places, about how contrived and boring the formulaic lighting of self-proclaimed professional photographers, based on their fixed notions, truly is.

Ako.

“The Secret Footage of Married Woman Hide Ishitani” aims to eliminate as much as possible the hollow techniques of AV-savvy production staff, striving instead for the hidden, voyeuristic sensibility of an amateur’s peeping.

The more you shoot a woman bound by Nureki Chimuo under “hidden” lighting, the more she emits an “lewd” color and scent.

I want to express, through real footage, the mind and body of a woman tightly bound with her hands behind her back, denying the “artistry” (which they probably arrogantly believe they possess) of professional photographers.

That is what is most stimulating for the viewer. It is raw and obscene.

If it’s not obscene, it’s not SM.

If it’s not raw, it’s not bondage footage.

But don't misunderstand what I mean by lewd.

I don’t just spread a woman’s legs recklessly. Doing something like that isn’t lewd at all.

No, wait a minute.

If I tried to spread her legs by placing my hands on each one, Hide Ishitani, if it were her, would probably struggle violently in shame.

If she were to resist and writhe, I’d place my hands on both her knees. I want to see her body trembling with shame.

If she were like some AV actress, casually spreading her legs wide open, I’d stop that kind of torment immediately. It’s pointless.

(Honestly, since there’s a two-year gap with her, I’m not really sure about that sort of thing. Women change in a short time, after all.)

Spreading a woman’s legs wide open vigorously, without any resistance or shyness (just the other day during a shoot, there was an actress like that), and then tying them up with all my might, that’s neither SM nor eroticism.

For a bondage enthusiast, that’s nothing but a truly meaningless, cold pose.

Spreading her crotch wide, exposing her genitals deep inside, yet if the woman shows no reaction whatsoever, there’s nothing more pathetic than that.

If I did something like that, I’d just be laughed at by the enthusiasts.

(No, that was a slip of the tongue. If the director orders it, I’ll do it. If I don’t, the shoot won’t progress. If it doesn’t progress, the shoot won’t wrap. I, the bondage specialist, won’t get paid.)

To be honest, I don’t really want to see a woman’s genitals that much, and I don’t feel they have the charm everyone makes such a fuss about.

Damn, I’ve gone off on a tangent again.

Ako, I’m sorry.

I drag Hide Ishitani, her wrists bound behind her with rope, up the stairs to the second floor of an old building's small bar, practically pushing her along.

For this scene, I cover only her eyes with a white cloth. This is the blindfold.

It evokes the image of a married woman being kidnapped. This part will be the first scene.

Ako, the staircase is narrow and steep, so be careful not to slip while holding the camera steady.

After dragging her into the bar, I’ll lift up her skirt and pull down the panties she’s wearing.

I ball up those panties and stuff them into her mouth.

I’ll really put my strength into it, forcing them in with my fingers, twisting them in.

Pieces of the panties that won’t all fit will peek out from the corners of her lips.

I’ll cover her lips further with another white cloth (unbleached cotton.)

This is to prevent her from spitting out the panties I’ve forced in.

I drape a large white gag over half her face, up to her nose.

(Gag enthusiasts, please look forward to this. Here, I take my time, meticulously and relentlessly. In fact, I’ve received numerous requests and high expectations from enthusiasts dissatisfied with the shoddy depiction of gags in current SM videos.)

I’ll let you hear plenty of Hide Ishitani’s agonizing, muffled, tormented, gagged voice.

Here, I remove the blindfold.

Even with the blindfold off, her features remain hidden beneath the white gag draped over her face.

Only her eyes are visible.

(Since she’s a married woman, her face must remain unrecognizable in the footage.)

She scans the suspicious bar with eyes filled with anxiety and terror.

Her tongue is bound by the panties stuffed tightly into her mouth, and through a muffled, sensual voice, the eyes of the married woman plead her fear.

Here, I once again tightly bind her upper body, securing her hands firmly behind her back.

This, of course, is one of the main showstopping moments, so I really want the camera to be set up properly and capture it well.

I’m sure Hide Ishitani will display a wonderful masochistically erotic reaction that will captivate and arouse all bondage fans.

Ahh, yes. Ako, you who are both the camerawoman and the producer.

Please. Whatever you do, don’t make me wear that tacky work uniform.

Anyone who knows me knows how much I hate samue, so I’m sure Ako knows this too. But if a married woman kidnapper were to wear a samue with those thick sleeves, wouldn’t it look unnatural to anyone who saw it?

I’m no grand “rope master,” just a regular rigger. And this time, I’m doing it with the mindset of a married woman kidnapper. So please, no trying to look cool in a samue.

Wearing that thing really does make it impossible to handle the fine ropes properly.

Mentally too, it makes it hard to put any real power into the ropes.

(Though that’s probably just my own inexperience, I suppose.)

And this time, it’s “binding” inside a cramped bar.

It requires even more delicate rope movements than usual. And precisely because of that, it should become a powerful, stimulating, thoroughly sadistic bondage.

I’ll have Hide Ishitani keep all her own clothes on, including her underwear. I’ll also do it in my usual black shirt, my own clothes.

Please, please, hear my request.

In that suffocatingly cramped bar, if I were told, “Nureki-san, please change into this,” and handed a samue, I’d surely run away.

No, I’m an adult, so I wouldn’t do something so rude as to completely ruin the shoot.

I’d endure it, smiling politely on the surface, put on the given work clothes, and proceed to tie up Hide Ishitani without any obvious mistakes.

But even if it’s Hide Ishitani, having her movements restricted, no, having her mood crushed before any movement, would mean I couldn’t pour my soul into the ropes.

And the keen-eyed enthusiasts would surely see right through it.

It’s precisely because they possess such keen senses that they are enthusiasts.

There are no insensitive people among enthusiasts.