is a 1969 Japanese film by Kōji Wakamatsu. Plot Poppo, a teenage girl, is raped by four boys on the roof of a seven-story apartment building. She asks them to kill her, but they mock her and leave. Tsukio, a teenage boy, has been watching the rape passively. Over the course of a day and a night, Poppo and Tsukio begin a relationship, telling each other of their troubled past and philosophizing about their fate. Poppo describes an earlier rape shown in flashback. In a color flashback, Tsukio tells of his own recent sexual abuse at the hands of a neighboring foursome, all of whom he has stabbed to death. Poppo repeatedly asks Tsukio to kill her, but he refuses. When the gang returns and again rapes Poppo, Tsukio kills each of them and their three girlfriends. While he is doing this, Poppo follows him complaining that he refuses her request, yet is killing the gang. The story ends with Poppo and Tsukio both jumping off the apartment roof to their deaths. Cast Mimi Kozakura as Poppo Michio Akiyama as Tsukio Background Kōji Wakamatsu had worked for Nikkatsu studios between 1963 and 1965, and directed 20 exploitation films during that time. When his pink film (1965) ran afoul of the government, Wakamatsu quit Nikkatsu to form his own production company. His independent films of the late 1960s were very low-budget, but often artistically done works, usually concerned with sex and extreme violence mixed with political messages. Some critics have suggested that these films were an intentional provocation to the government, in order to generate free publicity resulting from censorship controversies. According to Patrick Macias, "No one had up to that point, or since, filmed porn with as overtly politically radical and aesthetically avant-garde an agenda as Wakamatsu had." These films were usually produced for less than 1,000,000 yen (about $5,000), necessitating extreme cost-cutting measures including location shooting, single-takes, and natural lighting. Usually predominantly in black and white, Wakamatsu occasionally uses bursts of color in these films for theatrical effect. Like many of Wakamatsu's films of this period, Go, Go, Second Time Virgin is set mostly at one location—an apartment rooftop. It was shot in four days with a minimal budget. Themes and style Reviewer Donato Totaro calls the film an "alternating teenage expression of the sex (Eros) and death (Thanatos) drives, with sex continually made ugly and death the ultimate