Close to being one of the best films I have ever seen, Yuke yuke nidome no shojo is a maliciously brutal and offsettingly beautiful masterstroke of sublime art that juxtaposes bleakness with beauty and emotional explosions with artsploitation and ultraviolence.

As all art is meant to become subjective the moment it enters into the individual mind realm, I personally decided to consider Go, Go Second Time Virgin - probably my favorite movie title in cinema history - as an allegory of teenage angst, and spiritual and physical perdition of adolescence in a fatherless world. The plot reunites two victims ultimately defenseless against perverted circumstances, which shape their psychotic, sadomasochistic view towards the world, but not forgetting about the human soul, Wakamatsu makes both characters consistently portray their remaining fraction of humanity screaming from within, searching for a last hope, or expecting to die. The last portion of humanity left in them gradually diaappears in front of our eyes with jazzy melancholy, blues, and celluloid experimentation. The fact that we are watching the last part of their horrid perdition process before a breaking point of no return arrives makes the whole thing much more psychologically disturbing than it is graphically.

The transitions to color are otherworldly, and so is the cognitive dissonance provided during extended sequences of inhumanity with a gorgeous black-and-white cinematography that, indiscriminately, captures horror and beauty as complimentary companions in a dual existence.

Totally devoid of gray tones, 100% boundary-pushing, and astoundingly deep, constantly shifting from one side of the emotional spectrum to the other one like it does between color and B&W, Go, Go Second Time Virgin is interpreted as an experimental piece of Nūberu Bāgu exploitation in the best of cases, but rather deserves a more symbolic approach to it as a surreal essay of young folks living in a world devoid of control and adult guidance. The acts committed are unquestionably perverse, but the two protagonists act like children as well, playing with concepts of rape and death, lamenting the past, intentionally worsening the present, and not giving a hoot about the future. Not only youth, but the adult world is in exactly the same condition today, and keep adopting the same attitude.

99/100

Note: Important to notice is that this film is located right between the ending of the Nūberu Bāgu movement and the beginning of the Pinku films - such as Sex & Fury (1973) - and with enough arguments, it can be considered as a film belonging to the former, and an important predecessor of the latter.