In the plaza in front of Kōenji Station, under the thick nightfall, a beautiful girl holding a 'Sutororo' catches the eye. She is the 'Princess' of a small theater troupe, appearing pure with a sweet smile and a figure as slender as a model's, yet carrying a contrasting 'little devil' aura. NPJS-116 opens with this street encounter plot, like an urban legend, pulling viewers directly from the hustle of Tokyo streets into the vortex of the adult world. 'Tearing away the facade to see the essence' has always been my style, and this work precisely focuses on 'duplicity,' challenging viewers' stereotypes about 'purity' and 'debauchery.' The female lead 'Arima Mizuki' appears as a theater troupe member, said to be a bit of a star in a 'poor small theater troupe,' nicknamed 'Princess,' yet she has had a shocking '3P' experience with male members in the troupe. You might think it's absurd, but it's not uncommon—Tokyo's underground theater circles often have such free-spirited atmospheres. Her dialogue is light and humorous, and she doesn't shy away from dirty jokes at all; this frankness makes her AV appearance seem perfectly natural. She says: 'Since I like money and SEX, maybe it's okay to do it (laugh),' this line is practically the soul of the film, nakedly showing her motivations: driven by both money and desire. If I had to describe it in one sentence, I'd say: 'Rather than calling it AV, it's more like urban anthropology fieldwork!' Indeed, the director uses 'nanpa' (pick-up) as the entry point, progressing from the streets to izakayas, and then to the set, layer by layer, giving viewers an illusion of 'realness.' This 'amateur feel' is the specialty of the 'Nanpa Japan' brand, through a pseudo-documentary filming style, making it seem like it's not a carefully designed script, but an impromptu adventure. However, this 'reality' is ultimately part of the performance, as Baudrillard said about 'simulacra,' what we see is a carefully packaged 'reality' that is incredibly alluring. The film is 150 minutes long, making it a 'marathon-style' AV work. The director not only plays to 'Arima Mizuki's' 'slender beautiful body' advantage but also uses multi-angle close-ups to present her body language, from the twisting of her waist to the teasing in her eyes, all exuding the charm of a 'little devil bitch girl.' According to the male actor, her performance was '7.5 times more erotic than imagined,' and this is no exaggeration, thoroughly highlighting how powerful her explosiveness is. Additionally, her 'real orgasms in succession' convey a kind of unmasked primal energy, which is especially precious in the overly mechanized AV industry. 'This film is basically turning Koenji's nightlife into a porn version of 'Tokyo Story'!' Indeed, the director's care in scene transitions gives this AV a touch of arthouse film quality. The core charm of NPJS-116 lies in the contrast between 'purity' and 'debauchery,' which is not only the character setting but also a common theme in Japanese popular culture. From the 'yandere' characters in anime to the 'pure desire' image of J-POP idols, this duality always captures the audience's attention. Arima Mizuki in the film is both a 'clear-type' theater troupe member and a 'drunken slut' night wanderer; this contrast inevitably reminds one of Chihiro in Hayao Miyazaki's Spirited Away—a girl with a pure exterior hiding a tough and complex inner self. The difference is that NPJS-116 transforms this complexity into physical expression, challenging viewers' definitions of 'purity.' @foxshuo might say: 'This film is basically asking you: What is purity? Is it the appearance? Or the heart? Or the label society gives you?' This philosophical question is exactly what sets this film apart from ordinary AV. It's not just a visual feast but also a mirror reflecting the viewers' inner desires and prejudices. In summary, NPJS-116 is a work that combines entertainment and reflectivity. It starts from the streets of Koenji, leading viewers into a world interwoven with 'purity and debauchery.' Arima Mizuki's expressiveness, the director's pseudo-documentary technique, and the nuanced capture of urban culture all make this film stand out among many AVs. @foxshuo's review style always likes to end with a famous quote, and I'll borrow a line from Shakespeare in 'Hamlet': 'There is nothing either good or bad, but thinking makes it so.' In NPJS-116, purity and debauchery are just two sides of the same coin; the key is how we perceive it.