A fascinating, intense auteur that tends to explore repressions, obsessions, and their violent or neurotic release in surreal, sometimes hyperkinetic
movies with a style all his own. He consistently digs into recesses of the mind and the subconscious, visualizing their physical or fleshy repercussions
(which is why he is sometimes compared to Cronenberg). His earlier movies are often extremely violent in an anarchical way, and one feels the obsessive
creepiness is very personal. He delves into surreal and fantastical territories with ease, blending it into reality when needed by the psyche of his
characters. One of the most original and fascinating film-makers in Japan and a master at crafting sound, vision, costumes, cinematography and acting
to precisely shape his visions.
Tsukamoto's best in years, and a greatly superior sequel that can be watched as a stand-alone movie. Although, at the surface, this is a riff on the
Nightmare on Elm Street type of horror where dreams prove fatal to teenagers and it even has some J-Horror long-haired ghosts, Tsukamoto makes this
an intense study in primal fears as only he can do. Fears from childhood, traumas, social fears, nightmares, ghosts, and death are explored, as experienced
in the recesses of the mind, with reality meshing with nightmares in dream-logic and creepy strangeness. Even the classic waking-up-to-find-you-are-still-dreaming
is given a new workout here with unique and creepy ideas, and Tsukamoto's inimitable style and dynamic cinematography. Although he kept one of the pop-idol
actors that ruined the first movie, he manages to get a pretty good performance out of him. One great scene after another with a superbly gentle and appropriate
ending. Highly recommended.
Nightmare Detective 2
A truly bizarre Japanese dark surreal piece of work with lots of stop-motion animation. A man with a fetish for metal shoves metal objects into his body
but panics when maggots invade his flesh and gets run over, and this triggers a surreal, gory, twisted nightmare of a hyperkinetic journey where you can't tell
apart the dream from reality. His accidental nemesis starts experiencing metal-related changes in his own body, and when the fetish-man comes to visit and
extract revenge, things accelerate into a brutal and chaotic battle of supernatural powers and forced metamorphosis. A surreal, industrial, energetic nightmare
of men turned into angry mutating machines under the pressures of urban life. This comes off like a blend of Cronenberg and Lynch on speed.
Tetsuo: The Iron Man
This sequel is basically a revisitation of very similar themes only in a slightly more accessible, commercial way. It's another nightmarish, surreal vision
of the ubiquitousness of industrialization and the overwhelming machines that transform man to the point where a father turns his children into physical human
weapons and machines of destruction. This sequel actually features a plot you can follow and it's in color, but it's still darkly bizarre and intensely fascinating.
Tetsuo 2: Body Hammer
Early insane film on 8mm about a boy with an electric rod/pole permanently attached to his back who invents a time machine and goes into the future where punk
vampires rule a chaotic world by exploding atomic bombs to darken the skies. To stop development of the super-bomb attached to a mutant girl, electric-rod boy
teams up with a female who has a book on her head and fights the vampires in rapid-cut stop motion animation while flying on metal scraps in order to bring light
back into the world. Did you get all that? Oh, nevermind.
Adventure of Denchu Kozo, The (AKA The Great Analog World)
Tsukamoto with a higher budget does a Japanese Redemption by way of Peter Greenaway. This beautifully filmed eye-candy explores the themes of doppelgängers,
nature versus nurture, and, as usual for Tsukamoto, the dirty beast inside of man. A classy doctor becomes engaged to a woman with a mysterious past.
A strange presence comes up from the slime he despises to haunt him and brutally takes over his life. The costumes, makeup and cinematography are otherworldly,
and the performances are grippingly bizarre, but the ideas are explored simplistically, superficially and therefore unsatisfactorily.
Reminiscent, in some ways, of Tsukamoto's Tetsuo days, this is 50 minutes of intense claustrophobia and dark nightmare that explores the
subconscious. A man wakes up in an extremely narrow concrete catacomb, some places so tight as to demand some literally teeth-grating maneuvers.
He ponders as to why he was put there and finds some booby traps a la Cube, then befriends another survivor amidst a bloodbath of gore. The
ending is maddeningly impenetrable but from what I understood, previous dialogue is rendered unsuitable, a more pure surreal experience
being preferable. An unforgettable, intriguing and imprinting nightmarish experience, but it feels undeveloped, like a single idea or
nightmare made into a movie.
Mixing horror, comedy, fantasy and gore (but mastering none), Tsukamoto displays a relatively light-hearted side of his movie-making talent.
Archaeologists study the existence of goblins and discover a secret tunnel under the local school, releasing the monsters into the world.
Tsukamoto, of course, has to give the monsters an over-the-top treatment, so they scuttle about as large spiders or invisible speed demons,
controlling the minds of their victims with long snake-like tongues to decapitate themselves. The heads are then attached to their spider bodies.
Will the crazy scientist and school students manage to keep this epidemic under control? And what is the meaning of the mutations appearing on the boy's back?
Hiruko the Goblin
An intimate look at inside the mind of an insane single mother who is very dangerous to her child. Think Repulsion, Tsukamoto style, which means the intensity
is turned up to 11, and then to 13. She hallucinates evil doppelgängers, works herself into a frenzy over every little worry and paranoid fear to the point
of driving herself to actually do what she fears, she cuts herself constantly to prove to herself that her body wants to live, she violently attacks men
with a fork when they hit on her, and every chore becomes a nightmare. Her sister takes over care-giving of the child, and then a strange stalker (Tsukamoto) appears
who seems to be in love with her to the point that he lets her beat him into a pulp as a necessary part of their relationship. You will be kept guessing
for at least half of the movie as to what is actually real. Cocco, a Japanese pop/folk celebrity, gives her debut performance and it is a scary, natural one.
But her raw, a capella singing performances in the movie go on for way too long to the detriment of the pacing. Another flaw is the fact that there is no development
in character and story, just the horrifying experience of being her, with her loose grip on reality.
Tsukamoto does J-Horror with a big dose of Suicide Club and Elm Street. People are committing violent, bloody suicide in their sleep after talking to
a strange man on a cellphone. Police are on the trail, and a suicidal guy with the ability to enter people's dreams is drafted to help stop the brutal
deaths. Starts with grippingly mysterious supernatural horrors, then becomes a disappointingly conventional horror movie, and only picks up at the end
when they have a frantic war of memories and dreams mixed with gore as only Tsukamoto can do. Another variation on Tsukamoto's usual themes, this one
focusing on repressed memories and the nightmares that ensue. The biggest flaw is probably the miscasting of apathetic pop-idol as pedantic detective,
and dull, depressed emo-boy as the psychic. Tsukamoto himself is intense as always though.
Another exploration of repression by Tsukamoto, this one relatively more subdued, mature and psychological. The movie revolves around a dysfunctional couple:
A young, gentle, sexually frustrated wife and her older balding cleanliness-obsessed husband who can't communicate nor have sex with her. A mysterious outsider
first blackmails, then simply helps the wife to explore her own secret fantasies and parade in public in a tiny mini-skirt, no underwear and a remote control
dildo, until she sheds her inhibitions in a scary way. Then he 'frees' her husband using more violent methods. The last half features surreal sequences where
voyeurs watch a love-making couple drown through funnel like masks, the persuader turns out to be something stranger than human and the three of them all reach
orgiastic epiphanies. Filmed in gorgeous black and blue and features endless torrents of pent-up, late-spring rain. The masterful direction finds a perfect
balance between disturbing and cleansing.
Snake of June, A
Tsukamoto revisits his most successful movie in a second sequel. This goes beyond even Body Hammer though with its narrative plot, and it seems almost Hollywoodized
in the way it feels the need to explain everything with a scientific back-story. Once again, an ordinary salary-man is triggered into a fit of rage after some senseless
violence is committed against his child. His body starts mutating into bizarre metallic weapons and he searches for answers, constantly provoked and stalked
by a frighteningly eccentric stranger (Tsukamoto, acting as another intense, near-supernatural provocateur). All this is accompanied by a pounding, blasting soundtrack
with the help of Nine Inch Nails. The biggest flaw here is the use of English dialogue performed by flat foreign actors and distracting, awkward intonations by the
Japanese actors. The camera work is too shaky and frantic this time, the plot explains too much, and the climax makes no sense, leading to a very bizarre thing for
Tsukamoto: A happy ending. Watch the first two instead.
Tetsuo: The Bullet Man
A prototypical Fight Club only with over-the-top energy and gore and fewer philosophical musings. It's all about the repression of wild passions and hidden
rot in Tokyo, the businessmen and wives who live and work robotically with constant tension, and what happens when everything comes out in a violent rush.
A meek man gives in to bestial violence, competing with his brutish boxing brother, while his wife explores her body with piercings and domination. The
unrealistic, over-the-top behaviour and excess gore, however, detract from the plot and ideas, and leave you only with a hyperkinetic, violent but stylish
film. I prefer his more subdued and fascinating (and highly recommended) Bullet Ballet which explored similar themes with more control.
A subtle, personal meditation on death, lifeless life, the soul and its possible relation to the body and its internal organs. A man wakes in a hospital
with amnesia, goes to study medicine and encounters the body of his ex-girlfriend in dissection class. As he dissects her body and his own memories, experiences
that seem more like an alternative life take over his mind, his lifeless relationship with a fellow female student interweaving with memories(?) of the dead
girl, both needing masochistic games to feel alive, but the love and memories of happiness grow inside his own head the more he dissects her. Despite the description,
this movie is visually tame but psychologically tense. However, it just doesn't gel together for me, feeling more like an unfocused and inscrutable
personal meditation in progress. I found the character of Hiroshi, his broken mind, and his highly unusual relationship with dissection class fascinating,
but the masochistic girlfriend was unnecessary, and the parallel, identically neurotic new girl didn't make any sense at all. However, if you like metaphysical
movies that find transcendent love within a broken mind, such as Eternal Sunshine and Possible Worlds, definitely check this one out.