Jigoku-no-Hanazono: Office Royale (地獄の花園, Kazuaki Seki, 2021) [Fantasia 2021]

The OL, or “office lady” occupies a peculiar place in Japanese pop culture if not the society itself. The evolution of the typing pool, the OL exists to one side of office life, treated as domestic staff in the corporate environment and in many ways expected to be invisible. As such, an OL performs stereotypically feminine tasks in the office such as keeping the place clean and their male bosses looked after in addition to handling often dull and pointless admin work. It goes without saying that in general being an OL is a young woman’s job with the expectation that most will either find a way to transition onto a more viable career track or simply leave the world of work behind to marry and become a regular housewife. 

It’s this image of the OL as the embodiment of bland geniality that is at the centre of Kazuaki Seki’s zany comedy Jigoku-no-Hanazono: Office Royale (地獄の花園, Jigoku no Hanazono), a repurposing of “yankee” high school delinquent manga for the world of the office lady scripted by comedian Bakarhythm. A devotee of yankee manga, 26-year-old OL Naoko (Mei Nagano) explains that even office ladies have their warring factions outlining the tripartite fault lines at play in even her small company where the head OLs from Sales, R&D, and Manufacturing constantly vie for hegemony through physical dominance. She however merely observes from the sidelines defiantly living her “ordinary” office lady life. That is until new hire Ran Hojo (Alice Hirose) arrives to upset the precarious workplace power balance. 

Naoko first catches sight of Ran after she challenges some of the OLs from her company as they harass a timid male employee in the street though they don’t become best friends until after Ran spots a salaryman trying to upskirt her at a bus stop and decides to teach him a lesson. Despite being a yankee, it seems that Ran is also trying to live a normal OL life, bonding with Naoko over their shared love of a TV drama, but is not exactly good at the job and regards fighting as her one and only skill. Perhaps speaking to an inner insecurity born of being a woman in a conformist and patriarchal society, each of the women struggle to see themselves as protagonists in their own lives rather than mere supporting players unwittingly both playing the role of the ditzy best friend to the competent hero. 

In one of her many meta quips commenting on the action and how it would play out if she were a character in a yankee manga, Naoko laments her status as the “comic book hero’s boring friend” which is extremely ironic seeing as she is certainly the heroine of this movie given that it’s her voiceover we’re hearing and her POV we generally adopt. Yet Seki sometimes undercuts her by shifting to a rival voiceover offered by Ran herself doubtful of her proper place in the narrative and eventually descending into an existential crisis after an unexpected setback shatters her sense of self. 

Nevertheless, even if as the de facto leader of her company’s OLs Ran advocates for equality insisting there are no bosses and no underlings only women standing together, Office Royale generally embraces rather than attacks societal sexism particularly in its somewhat unexpected conclusion which ends in ironic romance rather than female solidarity. Even so, it’s interesting that the OLs lose interest in delinquency once the hierarchy of fists has been fairly decided, acknowledging the superior skills of a better fighter and thereafter living peacefully rather than continuing the internecine determination to sit at the top of the pyramid which is the hallmark of the high school yankee manga. 

While the final arc strays into some potentially problematic territory with the uncomfortable humour of four male actors playing the top fighters of a rival gang of OLs from another company, Office Royale offers a series of surprisingly well choreographed fight scenes even if eventually descending into manga-esque cartoonish violence while much of the humour stems from Naoko’s adorably nerdy voiceover musing on what would happen next if this were a yankee manga. In the end, however, it’s less a tale of office lady infighting than of a pair of young women coming to a better understanding of themselves even if they do so through the potentially destructive medium of pugilism. 


Jigoku-no-Hanazono: Office Royale streamed as part of this year’s Fantasia International Film Festival

Original trailer (English subtitles)

Audition (オーディション, Takashi Miike, 1999)

audition-posterReview of Takashi Miike’s Audition (オーディション) – first published by UK Anime Network.


The world was a much more innocent place back in 1999. Takashi Miike already had 34 films to his name before Audition became his breakout hit even whilst seeing him branded “sick” by a disgusted audience member at the film’s otherwise successful screening at the Rotterdam film festival. Based on the book of the same name by Japan’s master of the nasty psychological thriller Ryu Murakami, Audition is the twisted romantic nightmare to end all twisted romantic nightmares.

Aoyama is a widower with an almost grown-up child. Now that his parental responsibilities are changing, and spurred on by his encouraging son, Aoyama perhaps feels ready to move into another phase of his life by considering the idea of getting married again. However, Aoyama is a sensitive and romantic man who’s actually a little naive when it comes to matters of the heart and obviously hasn’t had much experience in the dating world in the last twenty years. He turns to an old friend who happens to be a casting director and comes up with the novel (if somewhat inappropriate) idea of letting Aoyama sit in on an audition to look for a new wife.

In glancing over the headshot resumés, one catches his eye – that of a former ballet dancer who equates having had to abandon her dream of becoming a professional dancer because of an injury with a sort of spiritual death. This deep sense of loss strikes a chord in the widowed Aoyama and despite his friend’s warnings that she gives him the creeps, Asami is the one he’s set his heart on. However, Asami is not the sweet and innocent girl she first appears to be…

In the intervening 15 years since its original release, Audition has amassed something of a reputation which is to say that viewers will almost certainly be aware of its “extreme” nature. However, Audition arguably works best when seen blind as it begins as a fairly straightforward romantic drama in which a broken hearted widower begins to live again thanks to the attentions of a shy young woman. Of course, Miike is peppering the otherwise anodyne love story with subtle (and not so subtle) clues all the way through, planting doubts in our minds right away. Is Aoyama just an old fool who’s lost his head over a young beauty or is he right to grow suspicious in the face of the ever increasing, yet circumstantial, evidence of Asami’s strangeness?

Is Asami hiding a dark secret, or is Aoyama projecting his fears of romantic entanglements onto her  silhouette and therefore creating, in some sense, a villainess worthy of his anxieties? According to Miike himself, Audition is not a horror movie (Japanese horror movies are linked with the supernatural and Audition’s terrors are very much of the real world) – Murakami in fact wrote the book as a strange kind of “love letter” to a woman he had wronged. Miike sought to envisage her reply and gives her an opportunity to offer a series of extremely dark explanations of her own. Neither Aoyama or Asami have been honest with themselves or each other. Aoyama is looking for a cookie cutter ideal to fit into the pre-made box marked “wife”, and well, it would be better not to go into all the various ways Asami has misrepresented herself but she does have a point when she calls Aoyama on how easy it was to make him fall for her meek and feeble innocent act.

Asami and Aoyama are always working at cross purposes to each other, engaged in a macabre dance where Asami leads by stealth, waltzing Aoyama into her spider’s web of vengeance by neatly subverting his ideas of femininity. However, this is not to cast Asami as a vile temptress or the predatory female born of male fears of emasculation (though these ideas are definitely in play), nor is she an avenging feminist warrior so much as a lonely, damaged woman. At the very end of the film the pair have perhaps reached a kind of understanding as, according to Asami, only in extreme pain does one understand one’s own mind. Left maimed and helpless, each is scarred and broken but alive and, perhaps, at peace at last.


Audition is now re-released on blu-ray in the UK from Arrow Films in a significantly better transfer than the previous US blu-ray from Shout Factory.