Kakegurui 2: Ultimate Russian Roulette (映画 賭ケグルイ 絶体絶命ロシアンルーレット, Tsutomu Hanabusa, 2021) [Fantasia 2021]

Closet revolutionary or compulsive gambler, Yumeko Jabami (Minami Hamabe) continues to be a thorn in the side of the Student Council in the sequel to hit movie Kakegurui, itself a sequel to a two-series live action drama adapted from the manga by Homura Kawamoto. Set as the opening expositionary narration explains at school for the elite Hyakkaoh Academy where social hierarchy is determined by skill in gambling, Ultimate Russian Roulette (映画 賭ケグルイ 絶体絶命ロシアンルーレット, Eiga Kakegurui: Zettai Zetsumei Russian Roulette) sees the rattled Student Council making a counterproductive and potentially ruinous decision in bringing back a previously exiled player in the hope of permanently neutralising Yumeko. 

Makuro Shikigami (Ryusei Fujii) was suspended some years ago for his part in the “House Pets’ Curse” which led to most of the school being demoted to its lowest, near untouchable ranks. At Hyakkaoh Academy, students are required to pay a tithe to the Council and those who can’t pay end up as “House Pets”, humiliatingly treated as cats and dogs. Yumeko’s friend Meari (Aoi Morikawa) fears she may have fallen foul of the curse herself having hit a lengthy losing streak, but it’s not until Shikigami begins twisting the situation to his advantage that Yumeko is snared by his manipulative trap. 

Yumeko, meanwhile, is in the middle of a depressive episode largely down to her reluctance to take part in the school’s upcoming sports’ day. Just as in the previous film her long game was better cakes in the cafeteria, her end goal here is trying to get the event cancelled by whatever means possible. In any case, we also witness another dark side to the oppressive rule of the Student Council as a demoted Maeri finds herself in a literal chain gang forced into hard labour building the facilities for the sports festival in what seems to be a minor dig at preparations for the Olympics. Yumeko and Meari are, however, responsible gamblers in that they refuse to bet on other people’s safety or at least refuse to be complicit in games which are designed to inflict harm or cruelty on others. 

As Shikigami explains in his opening monologue, the skills needed for gambling are strategy, ability to read your opponents, and a killer instinct. This is something Yumeko knows well, she plays players not games and sees straight through Shikigami realising that his crazed psychopathy is an act to mask the meticulous quality of his external manipulations. Nevertheless she is also caught out by her unwillingness to put her friends in danger, willingly sacrificing herself instead. The Student Council too are seemingly caught off guard little realising that Shikigami presents just as much of a threat to their authority as Yumeko and is equally uncontrollable with far fewer principles. Still as Student Council President Kirari (Elaiza Ikeda) ominously reflects, “there must be chaos before order”. 

In any case, they find themselves awkward allies in facing off against Shikigami in the promised game of Russian roulette mediated through a card game but played for real. The Student Council leaves itself surprisingly vulnerable in a loophole which allows House Pets to challenge them directly overruling all of the other school regulations, while Shikigami too falls victim to his own arrogance never quite expecting to be challenged having achieved his primary goals of seizing control of the school via the Council. The only way to beat him is to play him at his own game, disrupting his self-serving plotting and tendency to cheat in an insult to the art of gambling while undermining his confidence in his own intellectual superiority. “Only a twisted mind could beat you” he says of Yumeko believing himself to be a twisted mind though as it turns out perhaps not quite twisted enough. 

Temporarily siding with authority in order to put a stop to Shikigami’s authoritarian potential, Yumeko does not so much challenge the system as work around it while protecting herself and her friends from Shikigami’s machinations. What she defends is in a sense gambling itself, rejecting Shikigami’s intention to subvert it to his own advantage. Maintaining the same absurdist, manga-esque aesthetic as the first film complete with cartoonish CGI pupil shrinking, slick onscreen graphics, and even this time a random musical number, Hanabusa significantly ups the ante with bomb threats and unexpected Satanism while leaving the door open for the next instalment with Yumeko’s final instruction to “Bring on the Madness”. 


Kakegurui 2: Ultimate Russian Roulette streamed as part of this year’s Fantasia International Film Festival

International trailer (English subtitles)

Kakegurui (映画 賭ケグルイ, Tsutomu Hanabusa, 2019)

Gambling, the ultimate act of faith or the height of anarchic genius? Based on the hit manga which has already been adapted as a popular TV anime, Kakegurui (映画 賭ケグルイ) is the sequel to two seasons of a live action TV drama set in a school where hierarchy is decided not by grades or by fists, but by prowess at the gaming tables. Those who lose so badly they bankrupt themselves become a kind of subhuman underclass, tied up like dogs and routinely humiliated, while the Student Council becomes a stand in for an oppressive social order ruling over all and enforcing the law with an iron hand. 

Into this high stress environment walks Yumeko Jabami (Minami Hamabe), a transfer student to the elite Hyakkaou Private Academy determined to bend its rules to her own advantage. Meanwhile, Student Council President Kirari Momobami (Elaiza Ikeda) is forced to deal with a new and unexpected threat – The Village, a small cult made up of students who have rejected the system, dropped out to live a hippy lifestyle in the grounds, and refuse to participate in “meaningless” games of chance. Their priest-like leader, Amane Murasame (Hio Miyazawa), once beat Kirari at cards becoming something like a god of gambling, but lost his zeal for the game after losing the only thing he ever cared about. 

Where he opposes the system passively yet pointedly, Yumeko rebels in her own, fiercely individualistic way by superficially conforming, becoming a top gambler, but only because she is exercising a free choice to do so. She plays for kicks alone, and generally wins because she isn’t stressed enough about losing to let it bother her. This individualist streak makes her a hidden threat against Kirari, but one that might in itself be an interesting gamble for the infinitely bored Student Council President. 

While Yumeko’s individualism threatens to unbalance the system, The Village presents a collectivist threat, agitating wholesale revolution and an end to the oppressive rule of the Student Council which renders losers inhuman. Yet there’s an essential irony in The Village’s creepy monotony that stands in stark contrast to Yumeko’s seeming conformity but insistence on her own freedom. Your life’s your own, she later explains, it’s annoying if people try to manipulate it. In this instance she’s talking not about the “life plans” handed out by the Student Council, but the egotistical desire to “save” the lives of others without considering if they want them saved or if you’re merely infringing on their personal freedom in attempting to make choices for them based entirely on your own value system. 

Murasame perhaps bet something he shouldn’t have and technically won, but ended up losing anyway which is what has made him turn against gambling. Yumeko, meanwhile, believes that the only way to be truly free to entrust yourself to luck and destiny. That is, however, somewhat disingenuous, because what Yumeko excels at is mind games, essentially manipulating those around her in order to win. Yumeko plays players, not cards, and is rarely played herself. Unlike Murasame’s righthand woman Arukibi (Haruka Fukuhara), she doesn’t care that much what people think. Arukibi, meanwhile, is desperate for approval and is playing her own game just to get someone’s attention which makes her a volatile, if easily manipulated, opponent.

Essentially, Murasame wants freedom outside of the system where Yumeko has found it within, but her philosophy is perhaps the more dangerous in that it proposes total freedom that has no regard for the systems of governance. Then again, maybe this is all a long con to get better cakes in the cafeteria, merely gaming the system rather than actively undermining it. Nevertheless, for Yumeko life is risk, rebelling against an oppressive social order through the anarchic individualism of living by “chance”. Living in a society as highly regimented as this is a high stakes game, but you can’t win if you don’t play, and you need to play smart. That’s the peculiar irony of life at Hyakkaou Private Academy where the Student Council literally owns your future but you can win it back by playing them at their own game. Bet your life, win your freedom Yumeko seems to say but she still makes sure to bring cake for everyone, not just the “winners” or the privileged few. 


Screened as part of the Japan Foundation Touring Film Programme 2020.

International trailer (English subtitles)

The Tale of Nishino (ニシノユキヒコの恋と冒険, Nami Iguchi, 2014)

tale of nishinoEvery love story is a ghost story, as the aphorism made popular (though not perhaps coined) by David Foster Wallace goes. For The Tale of Nishio (ニシノユキヒコの恋と冒険, Nishino Yukihiko no Koi to Boken), adapted from the novel by Hiromi Kawakami, this is a literal truth as the hero dies not long after the film begins and then returns to visit an old lover, only to find her gone, having ghosted her own family including a now teenage daughter. The Japanese title, which is identical to Kawakami’s novel, means something more like Yukihiko Nishino’s Adventures in Love which might give more of an indication into his repeated failures to find the “normal” family life he apparently sought, but then his life is a kind of cautionary tale offered up as a fable. What looks like kindness sometimes isn’t, and things done for others can in fact be for the most selfish of reasons.

Ten years prior to his death in a traffic accident, Yukihiko Nishino (Yutaka Takenouchi) has taken a (former?) lover and her little girl out for drinks and parfait at a lovely seaside cafe. The woman, Natsumi (Kumiko Aso), declines the offer of dessert but Nishino orders two anyway – one for himself and one for the little girl, Minami, though it seems neither of them really wanted one anyway. An odd flirtation exists between the adults but Nishino laments his ability to gain exactly what this situation might look like from the outside – a “normal” family. He wants to get married, have a daughter of his own, but his relationships always end in failure. Natsumi tells him why – he always gives women exactly what they want, which sounds good, but really isn’t.

Nishino’s problem is that he’s almost irresistible to women, but sooner or later they all leave him. He believes he has an almost telepathic ability to figure out what it is women want from him coupled with an intense need to satisfy their innermost desires. Ironically enough, it’s this strange kindness that eventually leads to his death when he runs into an old friend at a crowded marketplace. Excited to see him she calls and waves, dropping her shopping and losing one of her crutches in the process. Rushing to help, Nishino does not see an oncoming van and is run over. Quite literally the story of his life.

Reappearing as a ghost he attempts to pay a visit to Natsumi, having jokingly promised to do so while they were dating. Natsumi, however, is nowhere to be found and so Nishino is left to exorcise his demons with the now teenage Minami (Yurika Nakamura) who decides to attend his funeral in case her long absent mother decides to pay her respects. It’s here that she begins to learn a little of Nishino’s sad romantic history courtesy of an older woman who became a friend and confident rather than a lover (and consequently remained in his life a little longer).

The problem is, Nishino’s desire to be eternally helpful means that he’s always pulled in more than one direction. A slow burn affair with shy and retiring superior Manami (Machiko Ono) looks as if it could be the one, but she eventually points out to him that he’s not the sort of man who can have the life he craves because he never fully commits to any one person and never truly loves anyone. His irresistibility apparently even extends to one half of the lesbian couple from next door though, notably, not the half you’d expect.

Nishino first gets to know Tama (Fumino Kimura) and Subaru (Riko Narumi) when their cat, Nau, invites himself over, after which the feline Subaru decides to do the same, flirting away with her uptight girlfriend presumably going crazy in an adjacent room. Subaru is Nishino’s opposing number, the kind of girl that gets everything done for her, but there are obvious cracks in the strained relationship between the two women and it’s the neurotic Tama he finally bonds with after an unusually perceptive conversation over convenience store ice cream. Nishino, as he later puts it, is faithful in mind if not in body but satisfying immediate desires is not always the best idea. Trying to provide comfort, Nishino adds even more confusion to a messy situation and, even if it perhaps works out for the best, Nishino is left alone once again.

A botched proposal leads Nishino to let slip the real reason for his boundless desire to please – it’s because he’s lonely. Desiring to keep these women around him, he gives them whatever it is they want to stay. Just like Tama has effectively relegated Subaru to the same level as their cat – giving in to her every demand in the terror that she will leave, Nishino loses the women he loves by embracing his selfish desire to keep them rather than acting in their best interests and recognising the true depth of love which may not always work out in his favour. The interfering spectre of old girlfriend Kanoko (Tsubasa Honda) who can’t let go even though the relationship is over is a lingering hangover of this tendency as she too cannot seem to commit and wants to keep Nishino as a backup plan, resenting his interest in other women yet not willing to make a permanent decision to stay with him.

A whimsical fable of a man looking for love in all the wrong places, The Tale of Nishino is a long, melancholy journey through modern relationships in which not just romantic but platonic and familial love find themselves under the microscope. As Manami points out, you can’t share loneliness – Nishino’s need to be needed eventually drives a wedge between himself and everything he wanted. Natsumi’s words of wisdom for her injured daughter offer only that romantic love necessarily ends, whereas a mother’s love for her child is ever lasting even if it does not necessarily look that way. Iguchi’s style is typical of the “quirkier” end of Japanese indie, shooting with a deadpan abstraction, but the slight feeling of alienation works well with Nishino’s ultimate refusal to bare his heart in a more “straightforward” manner. A bittersweet story of love lost and found, Nishino may have given up the ghost but perhaps he did find that family after all, in a way, even if it was not his own.


Original trailer (no subtitles)