HND-765 My Girlfriend Is Right Nearby, But She's Quietly Whispering Into My Ears And Trying To Lure Me To Creampie Temptation Nao Jinguji

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HND-765 reviews

Everyone in the comments has been praising Jinguji’s acting, and I agree — she really delivers. But if we’re talking about this film alone, I wouldn’t quite call it a masterpiece.

I read some reviews and watched the trailer before downloading the subtitled version, and I was pretty excited going in. The story takes place across three points in time, trying to paint a bigger picture through key moments — but it doesn’t go quite deep enough.

• Act One: Back in her student days, she has a secret crush. They only “meet” in her fantasies, and nothing comes of it.

• Act Two: After graduation, she moves to Tokyo, gets lonely, and ends up seducing a man in a bar.

• Act Three: She returns to her hometown for a reunion, and finally sleeps with the guy she once had a crush on.

Now for the problems I had. In the final scene, the man sitting next to Jinguji isn’t her boyfriend — he’s just an old classmate. That alone kills half the emotional tension. Her sudden tears didn’t really land for me, and the second act ends up feeling kind of pointless as a result.

A more coherent setup, I think, would’ve been:
She has an unrequited crush in school → she moves to Tokyo and, out of loneliness, meets someone at a bar and starts dating him → she later brings this boyfriend home and attends the reunion, where she finally fulfills her teenage dream in front of their respective partners. If it had built up like that, those final tears could’ve been truly powerful.

My guess is that the story couldn’t go that route because the film is shot entirely from a first-person perspective. In the version I’m imagining, one of the two men would have to “show himself” in the last scene, which would break that subjective illusion.

But honestly, that first-person POV is where the film stumbles the most. It’s like the whole production was too focused on showing off the stereo sound and immersive angles. Sure, it sounds great, but it makes Jinguji’s acting feel a bit hollow. In the final conversation scene, she doesn’t look at the others at all — she just stares straight into the camera the whole time. It was honestly unsettling. First-person perspective doesn’t mean you literally stare at the lens nonstop! That’s on the director.

If the film had been shot in a third-person perspective, those issues would’ve been solved automatically, and the overall quality could’ve gone up a whole level.