Frankly, the "Ignore Existence" series in AV works has become overwhelmingly common, whether from big studios or small ones. After watching a lot for a while, you'll notice that sometimes it's just the title that's different, while the elements in the themes are basically the same. The average person might find this series boring, especially since the differences between works aren't that significant—I totally get that. But for someone like me who loves niche topics, especially plots involving dead fish or no reactions at all, I'm definitely all in from the get-go. Because sometimes, surprises do happen: Take this one from "DEEP'S," titled "DVMM-275 The Magic Mirror Suit CA Edition: Wear This and Get Ignored, Then Have Sex Non-Stop." It's got a full-on Harry Potter invisibility cloak vibe! Once you put on the "magic mirror suit," you become like invisible air, free to do whatever you want to flight attendants without any consequences. "When your existence is completely ignored, does desire become even more real?" Let's dive in and find out! The star of the show is the "magic mirror suit," a sci-fi gadget that makes the wearer's presence vanish entirely. The story is set in a simulated airplane cabin, where the flight attendants (led by Mizuno Asami and Satuki Fumi) are focused on their daily service routines, completely oblivious to the "invisible man" nearby. The plot is divided into three segments: The first has the male lead testing the suit's effects, sneaking into the cabin with a tense, black comedy feel; the second sees him letting loose, with his actions gradually crossing lines; and the third builds to a climactic group frenzy, like a wild party of desires. The whole film plays out like a rollercoaster, slowly building up to a rapid drop, pushing the audience's emotions higher and higher. However, the plot is pretty thin or basically nonexistent: Character inner depths aren't the focus here; the flight attendants' "ignoring" is the selling point, so if you're looking for emotional sparks or flowing sensuality, it's best to bow out. Director "Funky Hasei" really put in the effort with the scene design. The cabin details—from the flight attendants' uniforms to the seat arrangements—are convincingly recreated, making it feel like you're actually boarding a flight. This "pseudo-real" atmosphere reminds me of Nolan's Inception, blurring the lines between dream and reality, drawing the audience in to accept this absurd setup. That said, the cinematography is a bit conservative, relying too much on medium shots and failing to fully capture the psychological tension of "invisibility." If they had used more first-person perspectives or zoomed in on the flight attendants' subtle reactions in their "ignored" state (like unconscious tension or confusion), it might have immersed viewers more in this "invisibility game." The lighting and color tones are also pretty functional, lacking the layered emotional depth. Mizuno Asami and Satuki Fumi's performances are the biggest highlights of the film, and the surprises I mentioned at the start. They have to maintain their professional flight attendant image while completely ignoring the male lead, which is actually harder than over-the-top emotional outbursts. Mizuno Asami brings a natural ditzy charm, making her "ignoring" feel playful; Satuki Fumi is more composed, like a perfectly programmed robot. Their contrast adds fun to the movie. However, the script limits their range, treating the characters more as "canvases for desire" rather than fleshed-out individuals. So why do I call it a surprise? Because in most "Ignore Existence" themes, the actresses still react, whether sexually or in perceiving the male actor, which completely kills the soul of the piece. But in this one, the two leads nail the "ignoring existence" element perfectly—I think this might mark the start of a classic for "DEEP'S." Finally, the "magic mirror suit" might seem like just an AV gimmick on the surface, but it hides deeper philosophical questions: When you're no longer seen by others, are you still you? This makes me think of Lacan's "mirror stage" theory—our self-identity is built on the gaze of others. When that gaze disappears, does desire become boundless? The film answers in an exaggerated way: "Freedom leads to indulgence, but also exposes an inner emptiness." The male lead's behavior in his "invisible" state is both a liberation and a questioning of his own existence.