Love and Other Cults (獣道, Eiji Uchida, 2017)

love and other cultsEiji Uchida’s career has been marked by the stories of self defined outsiders trying to decide if they want to move towards or further away from the centre, but in his latest film Love and Other Cults ( 獣道, Kemonomichi), he seems content to let them linger on the margins. The title, neatly suggesting that perhaps love itself is little more than a ritualised set of devotional acts, sets us up for a strange odyssey through teenage identity shifting but where it sends us is a little more obscure as a still young man revisits his youthful romance only to find it as wandering and ill-defined as many a first love story and like many such tales, one ultimately belonging to someone else.

Our lovelorn hero and narrator, Ryota (Kenta Suga), observes the heroine from afar as he tells us her story, which is also his story in a sense. Ai (Sairi Itoh), a neglected child, drifts aimlessly in an uncaring world forever seeking a place to belong but finding no safe space to drop anchor. Ai’s mother, as drifting and aimless as her daughter, attempts to find salvation through religion but her quest for self-fulfilment drags her from one spiritual fad to the next all the while pulling little Ai along with her. The pair finally end up in a cult commune where Ai is a favourite of the leader – a Westerner called Lavi (Matthew Chozick) who preaches free love but only for himself.

Eventually, the cult is raided by the police, Lavi flees, and Ai is “rescued” but the next stage in her odyssey is no less disruptive than the last as she finds herself adrift in the mainstream world. Dropped into a regular high school, Ai tries to play the regular high school girl but can’t shake the cult member inside her. Semi-adopted by an ordinary family, her life gains some normalcy but it is short-lived and before long Ai finds herself in another sort of commune altogether before ending up in teenage prostitution followed by the porn industry.

If girls like Ai end up in AV, boys like Ryota end up in gangs. So it is that Ryota gets mixed up with two equally lost wannabe gangsters in Kenta (Antony) – an outsider by virtue of non-Japanese heritage, and the blond-headed Yuji (Kaito Yoshimura) who’s watched too many movies. Kenta is the de facto head of a little band of petty delinquent kids but he’s getting bored with gangster stuff and yearns for something more real while Yuji trails around after the lollipop sucking local chieftain (Denden). Ryota looks on casually without striking out in either direction, pining for Ai but either unwilling or unable to install himself as a permanent part of her reality.

As Ryota puts it, they’re all just looking for a place to belong. They don’t care where or what that place is, but what they long for is a sense of belonging born of owning their own identities. What may be a typical teenage problem of figuring oneself out takes on a larger dimension given the general instability of the world these youngsters find themselves in. Another in the long line of recent films losing faith with the family, Love and Other Cults finds no room for a familial solution to social woes. Ai has been so definitively let down that her very idea of family is so hopelessly warped as to permanently remove the possibility from her future.

Neglected in favour of her mother’s ongoing and inconclusive search for meaning, Ai’s major attachment is to unclear spirituality but even this becomes horribly misused thanks to her involvement with a shady cult. Having become the favourite of cult leader Lavi, Ai is used to trading herself for affection and security and so when she finds herself semi-adopted by the kindly family of a friend she attempts to use these same familial mechanisms to secure her position only to end up ruining the whole thing. Re-encountering Lavi (now an AV producer) again as an adult, Ai is still unable to see the way that she has been used and misused, quickly resuming her childhood role but without the spiritual pretence.

Ryota and Ai meander aimlessly outside of each other’s orbit, neither finding the place they feel they ought to be. Tellingly, the only real story which obeys narrative rules is that of depressed thug, Kenta, who finds an unlikely soul mate in a chance encounter with a photography loving deep-sea diver, Reika (Hanae Kan). Kenta and Reika are kindred spirits whose place to belong presents itself randomly and without warning yet is found all the same. There is no cult in this love, only mutual salvation. Ai and Ryota, however, are each trapped in their respective quests for fulfilment, disconnected, visible to each other only in brief, fragmented episodes and set to drift eternally yet always in search of a place to call home.


Love and Other Cults was screened as part of the 19th Udine Far East Film Festival.

Original trailer (English subtitles)

Destruction Babies (ディストラクション・ベイビーズ, Tetsuya Mariko, 2016)

destruction-babiesPost-golden age, Japanese cinema has arguably had a preoccupation with the angry young man. From the ever present tension of the seishun eiga to the frustrations of ‘70s art films and the punk nihilism of the 1980s which only seemed to deepen after the bubble burst, the young men of Japanese cinema have most often gone to war with themselves in violent intensity, prepared to burn the world which they feel holds no place for them. Tetsuya Mariko’s Destruction Babies (ディストラクション・ベイビーズ) is a fine addition to this tradition but also an urgent one. Stepping somehow beyond nihilism, Mariko’s vision of his country’s future is a bleak one in which young, fatherless men inherit the traditions of their ancestors all the while desperately trying to destroy them. Devoid of hope, of purpose, and of human connection the youth of the day get their kicks vicariously, so busy sharing their experiences online that reality has become an obsolete concept and the physical sensation of violence the only remaining truth.

The rundown port towns of Shikoku are an apt place to stage this battle. Panning over the depressingly quiet harbour, urgent, thrumming electric guitars bring tension to the air as the younger of two brothers, Shota (Nijiro Murakami), catches sight of his only remaining family member, older brother Taira (Yuya Yagira). Currently in the middle of getting a beating from local thugs, Taira signals his intention to leave town, which he does after his boss breaks up the fight and tells him to get lost.

By the time Shota has crossed the river, his brother is already lost to him. A vengeful, crazed demon with strange, burning eyes, Taira has taken the same path as many an angry young man and headed into town spoiling for a fight. Driven by rage, Taira fights back but only to be fought with – he craves pain, is energised by it, and rises again with every fall stronger but a little less human.

As he says, he has his rules (as mysterious as they may be), but Taira’s violent exploits eventually find a disciple in previously cowardly high school boy Yuya (Masaki Suda) who discovers the potential violence has to create power from fear in witnessing Taira’s one man war of stubbornness with the local yakuza. Yuya, a coward at heart, is without code, fears pain, and seeks only domination to ease his lack of self confidence. Taira, random as his violence is, attacks only other males capable of giving him what he needs but Yuya makes a point of attacking those least likely to offer resistance. Proclaiming that he always wanted to hit a woman, Yuya drop kicks schoolgirls and sends middle aged housewives and their shopping flying.

The sole female voice, Nana (Nana Komatsu) – a kleptomaniac yakuza moll who finds her validation though shoplifting unneeded items selected for the pleasure of stealing them, originally finds the ongoing violence exciting as she watches the viral videos but feels very differently when confronted with its real, physical presence and each of the implied threats to her person it presents. Tough and wily, Nana is a survivor. Where Taira staked his life on violence and Yuya on the threat of it, Nana survives through cunning. The victory is hers, as hollow as it may turn out to be.

Mariko’s chilling vision paints the ongoing crime spree as a natural result of a series of long standing cultural norms in which contradictory notions of masculinity compete with a conformist, constraining society. The entire founding principle of the small town in which the film takes place is that men come of age through violence, though the older man who has (or claims to have) provided the bulk of parental input for these parentless brothers describes Taira as if he were the very demon such festivals are often created to expel. Men of 18 years carry the portable shrines, he repeatedly says, but 18 year old Taira is a “troublemaker” and “troublemakers” must leave the town altogether.

If Taira sought connection through violence, Shota continues to seek it through human emotions – searching for his brother, hanging out with his friends, and drawing closer to his brother’s boss who offers him differing degrees of fatherly input. In contrast to his peers, Shota seems to disapprove of the way his cocksure (false) friend Kenji (Takumi Kitamura) treats women though it is also true that Kenji is actively frustrating his attempts to find his brother whilst dangling a clue right before his eyes. Nevertheless, the harshness of this unforgiving world seems determined to turn Shota into the same rage filled creature of despair as his older brother as injustice piles on injustice with no hope of respite.

Destruction Babies is apt name for the current society – born of chaos, trapped in perpetual childhood, and thriving on violence. Taira and Shota were always outsiders in a world which organises itself entirely around the family unit but the force which drives their world is not love but pain, this world is one underpinned by the physical at the expense of the spiritual. Metaphorically or literally, the lives of the young men of today will entail repeated blows to the face while those of the young women will require ingenious sideward motions to avoid them. Oblique, ambiguous, and soaked in blood, Destruction Babies is a rebel yell for a forlorn hope, as raw as it is disturbing.


Screened as part of the Japan Foundation Touring Film Programme 2017 and set for UK release from Third Window Films later in the year.

Original trailer (English subtitles)

Golden Slumber (ゴールデンスランバー, Yoshihiro Nakamura, 2010)

golden-slumberYoshihiro Nakamura has made a name for himself as a master of fiendishly intricate, warm and quirky mysteries in which seemingly random events each radiate out from a single interconnected focus point. Golden Slumber (ゴールデンスランバー), like The Foreign Duck, the Native Duck and God in a Coin Locker, and Fish Story, is based on a novel by Kotaro Isaka and shares something of the same structure but is far less interested in the mystery itself rather than the man who finds himself caught up in it.

30 year old delivery driver Aoyagi (Masato Sakai) is all set for a nice day out fishing with an old college buddy, Morita (Hidetaka Yoshioka), but he’s about to discover that it’s he’s been hooked and reeled in as the patsy in someone else’s elaborate assassination plot. After grabbing some fast food, Morita takes Aoyagi to a parked car near the closed off area through which the Prime Minster is due to be paraded in an open topped car. Waking up after a brief period of drug induced sedation, Aoyagi is made aware that this has all been a trick – badly in debt thanks to his wife’s pachinko addiction, Morita has betrayed him to a set of undisclosed bad guys with unclear motives and is taking this brief opportunity to give him as much warning as he can. Sure enough, a bomb goes off at the parade and Aoyagi just manages to escape before Morita too is the victim of an explosion.

Aoyagi is now very confused and on the run. Inexplicably, the police seem to have CCTV footage of him in places he’s never been and doing things he’s never done. If he’s going to survive any of this, he’s going to need some help but caught between old friends and new, trust has just become his most valuable commodity.

At heart, Golden Slumber is a classic Wrong Man narrative yet it refuses to follow the well trodden formula in that it isn’t so much interested in restoring the protagonist to his former life unblemished as it is in giving him a new one. The well known Beatles song Golden Slumber which runs throughout the film plays into its neatly nostalgic atmosphere as each of the now 30 year old college friends find themselves looking back into those care free, joyous days before of the enormity of their adult responsibilities took hold. That is to say, aside from Aoyagi himself who seems to have been muddling along amiably before all of this happened to him, unmarried and working a dead end delivery job.

As Morita tells him in the car, it’s all about image. The nature of the conspiracy and the identity of the perpetrators is not the main the main thrust of the film, but the only possible motive suggested for why Aoyagi has been chosen stems back to his unexpected fifteen minutes of fame two years previously when he saved a pop idol from an intruder with a nifty judo move (taught to him by Morita in uni) after fortuitously arriving with a delivery. Those behind the conspiracy intend to harness his still vaguely current profile to grab even more media attention with a local hero turned national villain spin. The Prime Minister, it seems, was a constantly controversial, extreme right wing demagogue with a tendency for making off the cuff offensive statements so there are those who’d rather congratulate Aoyagi than bring him to justice, but anyone who’s ever met him knows none of this can really be true despite the overwhelming video evidence.

Throughout his long odyssey looking for “the way back home” as the song puts it, Aoyagi begins to remember relevant episodes from his life which may feed back into his current circumstances. Although it seems as if Aoyagi had not seen Morita in some time (he knew nothing of his family circumstances, for example) his college friends with whom he wasted time “reviewing” junk food restaurants and chatting about conspiracy theories are still the most important people in his life. Not least among them is former girlfriend Haruko (Yuko Takeuchi), now married and the mother of a little daughter, who seems to still be carrying a torch for her old flame and is willing to go to great lengths to help him in his current predicament.

The film seems mixed on whether these hazy college days are the “golden slumber”, a beautiful dream time enhanced by memory to which it is not possible to return, or whether it refers to Aoyagi’s post college life which impinges on the narrative only slightly when he asks an unreliable colleague for help, aside from an accidental moment of heroic celebrity. It could even refer to the film’s conclusion which, departing from the genre norms, resolves almost nothing save for the hero’s neat evasion of the trap (aided by the vexed conspirators who eventually opt for a plan B). Once there might have been a road home – a way back to the past and the renewing of old friendships, but this road seems closed now, severed by the new beginning promised to Aoyagi who has been robbed of his entire identity and all but the memory of his past. Whether this means that the golden slumber has ended and Aoyagi, along with each of the other nostalgia bound protagonists, must now wake up and start living the life he’s been given, or that the old Aoyagi has been consigned to the realm of golden slumbers, may be a matter for debate.

Though the resolution may appear ultimately unsatisfying, the preceding events provide just enough interconnected absurdity to guide it through. During his long journey, Aoyagi is aided not just by his old friends but new ones too including a very strange young serial killer (Gaku Hamada) and a hospital malingerer with one foot in the “underworld” (Akira Emoto). It speaks to Aoyagi’s character that all of those who know him trust him implicitly and are ready to help without even being asked (even if they occasionally waver under pressure), and even those who are meeting him for the first time are compelled to come to his defence.  An elliptical, roundabout tale of the weight of nostalgia and inescapability of regret, Golden Slumber is the story of a man on the run from his future which eventually becomes a net he cannot escape.


Original trailer (English subtitles – select via menu)

Lowlife Love (下衆の愛, Eiji Uchida, 2016)

Lowlife Love“What would John do?” is a question Cassavetes loving indie filmmaker Tetsuo (Kiyohiko Shibukawa) often asks himself, lovingly taking the framed late career photo of the godfather of independent filmmaking in America down from the wall. Unfortunately, if Cassavetes has any advice to offer Tetsuo, Tetsuo is not really paying attention. An example of the lowlife scum who appear to have taken over the Japanese indie movie scene, Tetsuo hasn’t made anything approaching art since an early short success some years ago and mainly earns his living through teaching “acting classes” for young, desperate, and this is the key – gullible,  people hoping to break into the industry.

Despite ripping off the next generation, Tetsuo’s financial situation is not exactly rock solid as he still lives at home with his parents and younger sister and even resorts to stealing his elderly mother’s pension money all in the name of art. A low level sociopath, he bangs on about movies and artistic integrity whilst using his directorial authority to pull young and naive would be actresses onto the casting couch with promises to make them a star through the massively successful movie he’s supposedly about to make (but probably never will).

His world is about to change when he encounters two still hopeful entrants into the movie industry in the form of aspiring actress Minami (Maya Okano) and shy screenwriter Ken (Shugo Oshinari ). Ken’s script is good, and Minami shows promise as an actress but also a backbone as she’s unwilling to give in to Tetsuo’s clumsy pass at her through what actually amounts to an attempted rape in the (unisex) toilet of a seedy bar. And they say romance is dead!

Soon enough a rival appears on the scene in the form of a more successful director who abandoned the indie world long ago in favour of the golden cage of the studio system. Tetsuo calls him a sell out, but as his own world crumbles Tetsuo finally gets a much needed reality check that leaves him wondering how much “integrity” there is in his current life which is based entirely on exploitation yet produces nothing but cheap, instant gratification.

This is a film about a sociopathic, pretentious, and above all lazy “film director” who is being cast as a representation of a certain type of guy found the lowest edges of the indie film scene. Lowlife Love seeks to illuminate the inherent misogyny in the cinema industry and more particularly at the bottom of the ladder where the desperate masses congregate, each waiting for someone to extend a hand down to those below that will help them onto the higher rungs, but this is less about the subjugation of women and the way their lack of status is consistently used against them than it is about Tetsuo’s own fecklessness. Tetsuo probably could make a movie, but he doesn’t. He just talks about making movies. The system isn’t the problem here, Tetsuo is just a useless person with almost no redeeming features.

The successful director, Kano, and the ones that follow him are barely any better. Minami says at one point that directors are all crafty, filthy, bitter, and annoying – on the basis of these examples she is not wrong. Kano replies that filmmaking is like a drug, once you’re in there’s no out and you’ll do anything just to be allowed to stay. These guys are all hollow, desperate creatures, craving validation through “artistic success” but finding it through easy, loveless sex with “obliging” actresses equally eager to play this unpleasant game solely to avoid being thrown out of it or worse onto a lower stratum altogether.

Minami’s path is either one of growth or corruption depending on your point of view but the extremely shy, naive and innocent girl dreaming of becoming, not a star, but a successful actress, is gradually replaced by a manipulative dominatrix well versed in the rules of the game and unafraid to play it to the max. Whether her success is a fall or a victory is likewise a matter for debate but it contrasts strongly with the similar struggles of the veteran actress Kyoko (Chika Uchida) who even has a friend doing research on her targets so she can assess their usefulness before going all the way.

Unfortunately for her, even when she hits on a useful contact promises are easily broken, especially when you’ve already played your only bargaining chip and another, prettier player steps onto the field. A deleted scene features an embittered actress attempting to take her own life and uttering the final words that she never cared about stardom, she just wanted to keep on acting. This is an all too real response to an age old problem but one that Tetsuo and his like are much more willing to perpetuate than ease, even whilst mourning the loss of a friend to the unreasonable demands of their own industry.

Famously funded by a Kickstarter campaign and personal sacrifices of its producer, Lowlife Love features unusually high production values for an indie film and a fairly high profile cast including its leading actor, Kiyohiko Shibukawa, who has become something close to modern Japanese indie cinema’s most recognisable star. Performances are excellent across the board though the picture the film paints of the no budget indie world is extremely bleak and mean spirited. Porn, gangsters, exploitation, prostitution, and a lot of rubbish about creating art makes one wonder why anyone bothers in the first place but then we’re back to Kano’s conundrum and taking down our pictures of Cassavetes to ask what John would do. Sleazy, unpleasant and cynical, Lowlife Love’s cast of dreadful people in difficult situations yet, apparently, dreaming of the stars, is all too plausible if a little hard to watch.


Lowlife Love (下衆の愛, Gesu no Ai) was financed through a Kickstarter campaign run by Third Window Films and is currently shipping to backers with a regular retail release scheduled for a later date.

Lowlife Love will also be shown as part of the Edinburgh International Film Festival on 22nd and 23rd June 2016.

Kanikosen (蟹工船, SABU, 2009)

kanikosenBack in 2008 as the financial crisis took hold, a left leaning early Showa novel from Takiji Kobayashi, Kanikosen (蟹工船), became a surprise best seller following an advertising campaign which linked the struggles of its historical proletarian workers with the put upon working classes of the day. The book had previously been adapted for the screen in 1953 in a version directed by So Yamamura but bolstered by its unexpected resurgence, another adaptation directed by SABU arrived in 2009.

As in the book the film follows the lives of a group of men virtually imprisoned on a crab canning ship anchored near Russian seas in the 1920s. The men on the boat are of various ages and come from various different backgrounds but each is here out of necessity – nothing other than extreme poverty and lack of other options would ever persuade anyone to take on this arduous and often unpleasant line of work. Technically speaking the boat has a captain but it’s the foreman who’s in charge – dressed like a European officer in a white frock coat and riding boots and with a vicious looking scar across his left eye, Asakawa rules the waves, barking out orders and backing them up with a walking stick.

SABU films the workers’ struggles through the filter of absurdist theatre beginning with a darkly comic segment in which each of the men recount their poverty riddled circumstances and dreams for social advancement before one, Shoji, emerges and posits another idea. They will make a bid for everlasting freedom by committing mass suicide in protest to poor working conditions and consistent exploitation of their class by those above. Predictably, this fails when everyone realises they didn’t actually want to die in the first place. Later Shoji and another man are picked up by a Russian boat after being stranded at sea and after seeing how happy the Russian sailors seem to be, they return determined to enact the revolution at home.

Conveying the workers’ plight through production design, SABU opts for a packing room which is both oversized yet claustrophobic, filled with giant cogs and gears of the capitalist system in motion. The men are little more than fleshy gears themselves, just another piece of the production line to be thrown out and replaced once worn through. Gradually the workers start to realise that this system is only sustainable because of their own complicity. The foreman is, after all, only one man and the workers have made a decision to obey him – they also have the ability to decide not to. That said, the spanner in the works is that the foreman also represents the larger mechanism at play which is the imperial state itself and can call on its resources to defend himself against a potential mutiny.

Having decided to rebel and seen their revolution fail, the workers come to another realisation – that the only true path to social change is a movement for the people lead by the people as one, i.e. with no leaders and therefore no head which can be cut off to disrupt all their efforts. Hand in hand and with the bloody flag raised high do they march into battle to put an end to unfair exploitation of those without means by those that have. Ever since they’ve been on this boat, they’ve been told that they’re at war, that their services are necessary for the survival of the Imperialist state – and now so they are, engaged in the class war to end the imperialist hegemony.

In the end, SABU’s message is a little confused – he advocates collective action, but not the collective, as his revolution is born of individual choice rather than the workers linking hands behind a faceless banner. It works as a semi-effective call to arms, but more often than not undermines itself and has a tendency to pull its punches when it really counts. That said, even if it wasn’t perhaps quite what Kobayashi meant, the more general message that the revolution begins in the heart of the individual and that one has the possibility to choose to live in hell (as a slave of the state) or create a heaven for one’s self (as a free person) is one that has universal merit and appeal.


 

Kakekomi (駆込み女と駆出し男, Masato Harada, 2015)

166028_02The world of the classical “jidaigeki” or period film often paints an idealised portrait of Japan’s historical Edo era with its brave samurai who live for nothing outside of their lord and their code. Even when examining something as traumatic as forbidden love and double suicide, the jidaigeki generally presents them in terms of theatrical tragedy rather than naturalistic drama. Whatever the cinematic case may be, life in Edo era Japan could be harsh – especially if you’re a woman. Enjoying relatively few individual rights, a woman was legally the property of her husband or his clan and could not petition for divorce on her own behalf (though a man could simply divorce his wife with little more than words). The Tokeiji Temple exists for just this reason, as a refuge for women who need to escape a dangerous situation and have nowhere else to go.

Kakekomi (駆込み女と駆出し男, Kakekomi Onna to Kakedashi Otoko) places this important institution at its centre as it focuses on the stories of a number of women who’ve each ended up at the temple after a series of difficult circumstances. Jogo (Erika Toda) is married to a womanising drunkard who forces her to run his iron smelting business from the front lines (hence the painful looking blisters on her face) while he enjoys his life of debauchery. When the staff complains about his attitude and their subsequent fears for their jobs and Jogo raises their concerns with him he simply beats her before returning to his mistress. She then faces a decision – Tokeiji, death, or endurance. During her flight, she runs into O-Gin (Hikari Mitsushima), a mysterious wealthy woman who’s sprained her ankle after fighting off bandits in the woods. The pair bond on their quest to reach Tokeiji where they hope to find refuge from their turbulent home lives.

Before you can enter Tokeiji you’re held at one of the receiving inns where they hear your story, assess the possibility of being able to reconcile with a husband and, if deemed necessary, allowed to travel to the temple where you’ll live as a Buddhist nun for two years at which time your husband must legally sign the divorce papers. The inn adheres to strict Buddhist principles – no men are allowed near the temple (even the outside helpers wear bells so the ladies can hear them coming), you eat only temple cuisine (no meat or stimulants like garlic and onions), and have to abide by the word of the head nun. There are also three different classes of resident starting with the most expensive court lady lifestyle, then one of sewing and making repairs, and finally the lowest class which does all the day to day cooking, cleaning and other menial tasks.

The other pivot around which the film turns is the one time medical student Shinjiro (Yo Oizumi) who has literary dreams but has had to beat a quick retreat from Edo after defiantly breaking its ridiculous “no singing in the streets” law (amongst other things). At this period Edo and the surrounding area is undergoing its own mini cultural revolution as the current authorities advocate a period of austerity which sees things like literature, music and even sushi outlawed. Perceiving threats everywhere, the powers at be are also looking for a way to close down Tokeiji by any underhanded means necessary.

Shinjiro is a fast talking wise guy who can generally talk his way out of anything though he is also a keen student and a promising young doctor. As a relative of the Tokeiji inn owners, he’s seeking refuge too but also hoping to make use of their extensive archives for his writing career. As a doctor he’s immediately fascinated by the burns on Jogo’s face which he believes he can treat though in her frightened state she’s alarmed by his direct manner and refuses. After hearing his more reasoned arguments she finally submits and in turn becomes interested in his medical knowledge assisting him to gather herbs in the forest before starting her own herb garden in the temple.

Of course, the two develop a growing romantic attachment though frustrated by Jogo’s position as a married woman and the temple’s prohibition against male contact. Their romance is never played for melodrama, more as a simple and natural course of events though it’s well played by both Toda and Oizumi. At heart, Kakekomi is an ensemble drama which encompasses the often sad stories of its female cast who are each at the mercy of the cruel and rigid Edo era social system. O-Gin’s reasons for fleeing to Tokeiji turn out to be a little different from everyone else’s though she too is still suffering for love.

A humorous look at this untold story, Kakekomi proves an engaging ensemble drama anchored by the committed performances of its cast. Toda takes Jogo from a frightened and abused woman to a confident and learned scholar who is perfectly capable of taking charge of things on her own and her transformation is the true heart of the film. Apparently, director Masato Harada shot nearly four hours of footage before cutting the film down to the more manageable two and a half which may explain why it sometimes feels a little abrupt but nevertheless Kakekomi proves one of the most enjoyable mainstream Japanese movies of recent times.


The Japanese blu-ray/DVD of Kakekomi includes English subtitles.

Yakuza Apocalypse (極道大戦争, Takashi Miike, 2015)

Yakuza-Apocalypse-Quad-HalfSize-NEWBelated review from the 2015 London Film Festival – Yakuza Apocalypse is released in UK cinemas for one day only on 6th January 2016 courtesy of Manga who will also be releasing on home video at a later date.


Takashi Miike shuffles back towards the yakuza plains in the western inspired horror comedy Yakuza Apocalypse (極道大戦争, Gokudo Daisenso) trailing ever more zany humour behind him. Yakuza gungslingers, bloodsucking, high school girls running away from things and, finally, a guy with a magic belly button wearing a frog suit who just happens to be “The World’s Toughest Terrorist”.

We open in media res as vampire yakuza boss Kamiura (Lily Franky) cuts up a storm in settling some local disputes. There’s a handy voice over from our soon to be protagonist, Kageyama (Hayato Ichihara), lamenting the old yakuza world of tough guys and honour codes but things don’t really take off until a very geeky looking guy and a Van Helsing type in 17th century attire suddenly turn up hoping to re-recruit the boss to “The Syndicate”. When he refuses, they fight and the geek twists Kamiura’s head right off. Using his last ounce of strength and in a touch right out of Hausu, Kamiura clamps onto Kageyama’s neck turning him into a vampire. However, in his just turned state, the honourable Kageyama turns a few more vampires of his own – and not only vampires, the bite also transmits yakuzaism too. This increase in bloodsucking gangsters is a bit of a problem for the regular guys as it does mean their pool of victims is being steadily depleted…

Not making much sense is not generally much of a problem in a Miike film. In fact, it’s a pretty much a given at this stage of the prolific director’s career. However, in the case of Yakuza Apocalypse it’s even more pointless than usual to pay any attention at all to any kind of narrative. Looking over Kageyama’s shoulder, we move from set to piece to set piece as, first of all, the non-vampire yakuza guys struggle for power between themselves and then with the vampire variety before the giant frog turns up to ruin everything.

There are some rules, Miike takes a while explaining to us how this yakuza business works with Kamiura as the “good” kind of yakuza committed to protecting his townspeople above all else – essentially, he’s the sherriff around these parts. He’s a vampire, yes, but he only feeds on yakuza who he’s “reforming” by means of an underground knitting circle held prisoner in his basement. Apparently yakuza blood tastes bad and isn’t very good for you but eating civilians is dishonourable and anyway, limited in supply, because when you turn someone they also become a foul mouthed yakuza fighting machine.

The world building is shaky at best, none of this really hangs together making for a fairly disappointing series of one note jokes. There is an attempt at a bit of more sophisticated satire with the regular gangsters suddenly lamenting that there will be no one left for them to prey on if everyone turns yakuza vampire but otherwise it’s crazy piled on crazy. Not a bad thing in itself but somewhat lacking in substance.

Despite that, the film offers some quality performances notably from its lead, Kageyama, played by Hayato Ichihara, as the yakuza who’s so sensitive his delicate skin won’t allow him to get a proper yakuza tattoo. That is, until he becomes a brooding, conflicted vampire mourning the loss of his boss and of those long held tough guy ideals. Lily Franky also offers a high impact though short lived appearance as the honourable vampire boss with a hinted at backstory, though the much publicised cameo of The Raid’s Yayan Ruhian feels a little wasted as he’s just generally hanging around for a handful of fight scenes. That said, the action scenes themselves are extremely impressive, both exciting and often funny too.

Yakuza Apocalypse is not one of Miike’s most well thought out efforts. Its collection of crazy ideas feels thrown together and there’s disappointingly little depth to its world building. Even its media res conclusion looks more like running out of ideas than a deliberate decision. However, that’s not to say it isn’t heaps of fun, which it often is. A crazy frog riding a bicycle who somehow wakes up the giant king of the crazy frog people after some kind of emergency plaster is ripped off his belly button – really, what could be more fun than that? That really is all there is though and those who prefer their absurdist action thrills with a little more substance had best look elsewhere.


Yakuza Apocalypse is in released in UK cinemas for one night only on 6th January 2016. Luckily the film is playing across the UK even if it’s only the one night and you can see if it’s on anywhere near you by checking out this handy link! If it’s not, don’t despair! It’ll also be available in all the normal ways from Manga later in the year.

Reviewed at the 2015 BFI London Film Festival.