
Touch: Miss Lonely Yesterday
1998

2007
13+Director
Keizo Kusakawa
Runtime
27 minutes
Average Rating
No ratings yetSynopsis
In 2007, the Punishment of Sexual Perversions Law came into effect. The city is surrounded by a squadron wearing protective suits and they begin to arrest any who look like perversions. No wonder that Inukami Master Keita and Inukami Yoko are wanted for Class A perversions. What will happen to Keita, Yoko, Kaoru's Inukami, and the other lovely perversions? What about Karina? Source: AnimeNfo
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film relies on traditional romantic archetypes and supernatural companionship. It lacks explicit queer visibility or intentional critiques of heteronormativity within its primary plot.
Gender Representation
Powerful female entities like Yoko and Makie possess significant agency and supernatural potency. These roles challenge submissive tropes, though they often align with established battle heroine archetypes.
Racial & Ethnic Diversity
The setting and cast are culturally homogeneous, rooted deeply in Japanese folklore. There is no evidence of multi-ethnic perspectives or race-bent casting within this specific narrative.
Religious & Cultural Diversity
The story explores interactions between humans and deity-based entities. It uses a restrictive law to frame institutional authority as an antagonist to the protagonists' perceived deviance.
Disability Representation
There is no discernible focus on physical, neurodivergent, or sensory disabilities. Characters are defined by their spiritual status and combat abilities rather than disability.
Strengths
Areas for Improvement
AI Analysis
Inukami! The Movie operates as a standard supernatural genre piece. It finds its strength in subverting gender hierarchies by presenting female spirits with significant power and agency. However, the film remains narrow in its demographic scope, focusing almost exclusively on Japanese spiritual traditions and folklore. The narrative uses a restrictive law to frame institutional authority as an antagonist, providing a light critique of systemic rigidity. Yet, this is framed through a fantasy lens rather than a deep social deconstruction. The film lacks the intersectional complexity or demographic breadth needed for a higher score.

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