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The foley work alone would be enough to earn the movie an NC-17. The first thing that you should know about Daisuke Miura’s “Call Boy” is that it’s very explicit - this jazzy melodrama about a bored university student (a blank-faced Matsuzaka Tori) who starts moonlighting as a Tokyo gigolo is as hardcore as softcore gets. It’s a coming-of-age story that wriggles and screams with the frustration of growing up, as Yamanaka taps into her own recent experience to crystallize that time in your life when you’ve got all the energy in the world and nowhere to put it - all the emotions you can feel but no one to answer them. Shot with a shaggy, percussive energy that vaguely recalls the rebelliousness of the French New Wave, “Amiko” is a 66-minute tizzy of aimless voiceover, drab digital cinematography, random dance sequences, and adolescent ennui (“Ordinary, poor souls could never understand the two of us,” Amiko sighs).

Unfortunately for the eponymous heroine, her crush absconds to the big city, where he shacks up with Amiko’s arch-rival.

A scattershot but deeply exciting debut from 20-year-old writer-director Yamanaka Yoko, the micro-budget “Amiko” tells the universal story of a bored schoolgirl who begins to obsesses over a boy in her class after they bond over their shared love of Radiohead (sample dialogue: “I wonder if Thom Yorke wakes up, looks in the mirror, and thinks, ‘Ah, I’m Thom Yorke again today.’”). “Amiko” is the kind of movie that JAPAN CUTS is all about - the kind of movie that American audiences would never get to see (or even know about) if not for the work of eagle-eyed programmers who are determined to cut through the gatekeeping of international distribution and bring us an unfiltered look at foreign indie cinema.

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