To avenge the attack of her lover by a crime organisation, Shiro vandalizes their office and escapes with a pistol. But the two killers sent to track her down develop a strange relationship with their target.

Like Hisato Aikura's sometimes bouncy, sometimes furious music score, in which harpsichord notes are annihilated by a free jazz saxophone, this famous mix of pinku and noir film finally escapes all kinds of classification. Atsushi Yamatoya confirms his quest for a cinematographic language with freedom of chaos as a rule. Cinema becomes a laboratory, a poetic and artistic gesture in which Akaji Maro, a herald of butō, and future creator of the Dairakudakan company, already dances with the invisible, irradiating the screen by his fascinating presence.