Kyoto-born Shiota Akihiko began making 8mm films with fellow students Kurosawa Kiyoshi and Manda Kunitoshi while at Rikkyo University. He honed his screenwriting craft under Yamatoya Atsushi, a frequent collaborator of Suzuki Seijun, Wakamatsu Koji and Fujita Toshiya. Shiota's first two films as director, Moonlight Whispers and Don't Look Back, were both screened at the Locarno International Film Festival in 1999. Since then he has switched between making independent films and blockbusters such as Yomigaeri and Dororo. "Having been given the honor of making a new entry in the Nikkatsu Roman Porno canon, I attempted to evoke the entire human experience in my film," says Shiota about his newest film, Wet Woman in the Wind. "I believe that fleeting miracles are born from the bodies of actors, and this influenced my direction of every single scene. This enabled me to create what I am convinced is my best work to date.

Starting out as "gravure idol" (Japan’s ubiquitous version of the bikini model) Mogami Yuki in 2009, Mamiya Yuki adopted her new name in 2012 after shifting to acting. A year later, she stormed onto cinema screens with two films by genre master Ishii Takashi. After a supporting role in Hello, My Dolly Girlfriend, she fearlessly co-starred as abducted 17-year-old Naoko in the S&M opus Sweet Obsession (a.k.a. Sweet Whip). She has maintained her commitment to challenging genre cinema, appearing in Iguchi Noboru's self-aware horror Live and Yoshida Kota's manga adaptation The Torture Club in 2014, and Kubota Shoji’s Edogawa Rampo adaptation The Crawler in the Attic in 2016. With Wet Woman in the Wind she has forged one of the most striking personae (and screen entrances) of contemporary Japanese cinema, a fox demon made flesh that seduces any man that hears her siren call.