Luca Ste’s review published on Letterboxd:
Black/white, negative/positive: what you know about yourself, what the others know about you, what you want and what you don't want the others to know about you... here everyhing develops by framing, perspective, lights, sounds (the sound of the ocean within the shipwreck!), the colour of Okada's dress. This is true avantgarde.
The first sequence, at the very beginning, remembers of the great "Le feu follet" by Louis Malle, then the camera following the white sheet's folds, a short, harsh dialogue, her naked pictures flashing between the credits.
The second sequence, one of the best I've ever seen: Okada walking in the dark, rushing: back, stopping: front, back: the head's silhouette in the backlight (negative), front: her face enlightened (positive). "I followed you just because you were running away": his desire (positive) do not exist if she doesn't escape (negative), not viceversa! Now you understand the one from the back was a first-person camera: you were this first-person, it was your look, you were within the film as them, later, during the pinku-eiga-shooting on the beach scene; you were within their room while he was taking the photos as he will be within the studio, watching the others taking photos of the naked girl.
I stop here. There's no way to speak about Yoshida's films. Plot is somewhat nonsense, dialogue's role is minor, performance is nearly brechtian (or kabuki-like): everything follows image and sound.