<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title>Meiko Kaji - vo.rs</title><link>https://vo.rs/tags/meiko-kaji/</link><description>Latest from the Meiko Kaji desk at vo.rs.</description><generator>Hugo -- gohugo.io</generator><language>en</language><copyright>This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.</copyright><lastBuildDate>Sat, 08 Nov 2025 12:00:00 +0000</lastBuildDate><atom:link href="https://vo.rs/tags/meiko-kaji/" rel="self" type="application/rss+xml"/><item><title>Female Prisoner Scorpion: The Pinku Revenge Landmark</title><link>https://vo.rs/screen/female-prisoner-scorpion-the-pinku-revenge-landmark/</link><description>&lt;p&gt;Toei handed Shunya Ito a genre assignment in 1972 and expected a cheap thriller. Women-in-prison pictures were a reliable earner for the studio&amp;rsquo;s pinky-violence line, a run of tough exploitation films built on brawling, betrayal and a heroine who suffers before she strikes back. What Ito delivered instead was one of the strangest and most beautiful debut features of the decade, a film that keeps the disreputable machinery of the genre and pushes it toward the territory of myth. &lt;em&gt;Female Prisoner 701: Scorpion&lt;/em&gt; is exploitation cinema that behaves like an art film when nobody at the box office was asking it to.&lt;/p&gt;</description><pubDate>Sat, 08 Nov 2025 12:00:00 +0000</pubDate></item></channel></rss>