morality doom

The film uses editing techniques to create a hyper-aware and drug-like state, commenting on the idea of removing oneself from morality in sex. The characters engage in constant sex, with some homosexual undertones, but the director holds back from fully exploring it. The film explores the idea that sex, especially unconventional sex, is something to be ashamed of, and removes the audience and characters from their decisions. This disconnect from their actions removes any sense of morality in the film's reality. If we then apply the formalist approach, it can be assumed that this use of editing to achieve a film that lies in a hyper-aware yet illicit drug state is commenting on the abstract idea of removing oneself from the idea of morality when it comes to sex. The film is filled with sex, they're constantly doing it, they're always talking about it. It's mostly heterosexual, but we can see that the two male characters want to get it on, but Araki holds back. He builds that hyper-aware tension, clouded in a haze. The idea that sex is something to be ashamed of is a tale as old as Catholicism, especially weird sex. So Araki removes the audience and the characters from their decisions, as they float through space and time and cinematic editing, doing whatever they want and whoever they please. This technical choice removes the narrative from the hands of the characters. It doesn't matter to them anymore, they're barely connected to what they're doing. So whatever morality exists in the film's reality doesn't apply, it's not really them.