Suffering of Ninko (2016) [Film Review]

Suffering of Ninko; or, Carnal Visions
     Sexual indulgence is sinful for monk.
The decade of the 2010s has undeniably shown to us that the future of Japanese Cinema belongs to young, extremely skilled, and experimental filmmakers. Apart from One Cut of the Dead (2017), Violence Voyager (2018), and Beyond the Infinite Two Minutes (2021), Norihiro Niwatsukino’s debut feature, Suffering of Ninko (2016), is yet another example of how fresh approach and low budget can result in a decent motion picture.

Release Info

Directed by: Norihiro Niwatsukino Starring: Masato Tsujioka, Miho Wakabayashi, Yukino Arimoto

Language: Japanese Original Title: 仁光の受難 Runtime: 110 min

Synopsis
Ninko (Masato Tsujioka) is a Buddhist monk who diligently follows all the principles and practises asceticism. However, there is one problem. Ninko is incredibly handsome which, in consequence, draws the attention of women and men around him. Ninko desperately tries not to succumb to bodily desires, but horrible visions of demonic lust continue to haunt him. Ninko leaves his temple and embarks on a journey. In the mountains, he arrives at a village that is plagued by a demon spirit who kills men…

At World’s End
On the basis of the synopsis, one could think that Suffering of Ninko is nothing more than an adult feature filled with NSFW content. This is not true at all. Norihiro Niwatsukino provides a great addition to the genre of Japanese ghost stories by telling the audience a tale about a virtuous monk trying to preserve his purity.

Indeed, there are scenes of nakedness but these are thoughtfully framed within the folk tale convention. Namely, the live-action adventures of Ninko are cross-cut with parchment drawings and animations which, combined with the narrator’s voice, create an atmosphere of intimacy, as if we are reading an old, forgotten myth.

The production design is spot on. We get to see numerous naturalistic settings which seem as if taken straight from the world of Zatoichi. With regard to performances, Masato Tsujioka does a great job as the main lead, especially in the scenes where Ninko is shocked and terrified. Hideta Iwahashi is also interesting as a bloodthirsty samurai, but he does not have a lot of screen time. Miho Wakabayashi is just chilling as the demoness Yama-onna.Qyoko Kudo really elevates the film with her narration.

Recommendations
If you want to see something niche, bizarre, yet visually-intriguing, then I recommend Suffering of Ninko. Third Window Films released the film in dual format on DVD and Blu-Ray. Their edition contains a trailer, interview with director Norihiro Niwatsukino and a short film called Strawberry Jam.Overall score: 7/10

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Shin Godzilla (2016) [Tokusatsu Review]

Shin Godzilla; or, You Can (Not) Remake
     Man is more frightening than Godzilla.
It has been 5 years since the release of Shin Gojira, Toho’s 29th Godzilla live-action movie. The mid 2010s marked a renaissance period for the King of the Monsters in view of the MonsterVerse movies and numerous anime productions. Needless to say, I was extremely hyped when Toho announced that they are going to make a new movie (please refer here and here to see my old posts), but when I finally saw the movie, it left me with mixed feelings. This is most certainly not a conventional Godzilla flick and it took me a really long time to digest my thoughts and come to appreciate it for it strives to be something new within the franchise with nearly 70 years of cinematic legacy.

Release Info

Directed by: Hideaki Anno, Shinji Higuchi Starring: Hiroko Hasegawa, Satomi Ishihara, Yutaka Takenouchi

Language: Japanese Original Title: シン・ゴジラ Runtime: 120 min

Synopsis
Tokyo Bay, 2016. An amphibious creature emerges from sea depths and wreaks havoc on the Japanese soil. The Japanese authorities do not know how to handle this threat until the monster returns to sea. A group of researchers determines that the creature came to existence in the course of nuclear fission caused by radioactive waste dumped into the sea. Consequently, there is a strong possibility that it may return again in a changed form. When this happens, the United States intervene and enforce on Japan permission to use nuclear weapons so as to stop the monster. Nevertheless, the research team led by Rando Yaguchi (Hiroko Hasegawa) develops a safe, alternative plan that will allow the freezing of Godzilla.

Power of Resurgence
After the box office success of Gareth Edwards’s Godzilla from 2014, Toho also wanted to capitalise on their popular brand. Since the contract with Legendary Studios did not limit the Japanese in terms of live-action productions, they called up director Hideaki Anno with an offer of making a new movie. Anno initially declined, stating that he was too exhausted after making Evangelion: 3.0 You Can (Not) Redo (2012) and that he would not be able to match the greatness of Ishiro Honda’s original picture. Nevertheless, Anno’s close collaborator, Shinji Higuchi, managed to persuade him, and so the two were given the tough job of getting a Godzilla flick done within 16 months.

Considering the limited time window the filmmakers were given, I have to say that in terms of special effects and production design, they did a marvellous job. It would seem that all the action is CGI, but the crew actually combined a number of practical and digital effects together. What we see on the screen is part-real and part-computer generated. Interestingly, Godzilla was played via “motion picture” technique by actor Mansai Nomura.

With regard to the screenplay, however, here is where I am having issues. Hideaki Anno just can’t help but relive these Neon Genesis Evangelion vibes in each and every scene of the film. As a result, we get to see the following, already familiar to anime fans tropes: out-of-touch grumpy politicians having boring discussions about Godzilla, hot waifu speaking English, good nerdy girl, and general feeling that the world is about to end. What is more, NGE tone is reinforced through the music score. As I have already mentioned in my editorial devoted to Godzilla music, composer Shiro Sagisu does a fine job whenever he is allowed to be original and creative, but the inclusion of various remixes of “Decisive Battle” from NGE just to please Anno’s fanboy fantasies is unforgivable.

That being said, I respect what Anno and Higuchi were going for with Shin Gojira. For the first time in the franchise, we get a new movie which does not acknowledge the 1954 father picture in any way. This is a full remake but a remake with a purpose. In this reality filled with red tape and bureaucracy, Godzilla functions as an embodiment of everything wrong with Japanese policies. It strikes the Japanese nation like the 2011 Tohoku earthquake and the 2015 Fukushima Daiichi nuclear disaster. People are dying because of the ineptitude of their leaders. The only hope for change lies in the group of able young men and women who take a stand against the King of the Monsters and save the day.

In my opinion, the ending is way too optimistic and right-centered for Hideaki Anno who constantly basks in the postmodernist shades of depression. Perhaps it was the change initiated by the studio or Shinji Higuchi. Interestingly, the very last scene clearly indicates the possibility of a sequel, but Higuchi himself stated that there will never be Shin Gojira 2 because of the Hollywood productions which are churned out with increasing frequency. If there is going to be a new Japanese Godzilla movie, it will be a totally new story.

On a side note, I have to praise the magnificent ensemble cast of Shin Gojira. There are so many great actors and actresses in it! Apart from Hiroki Hasegawa as the main lead, there is also Satomi Ishihara, Issei Takahashi, Ren Osugi, Kimiko Yo, Akira Emoto, and Jun Kunimura.

Recommendations
If you are struggling with depression, then you will certainly find Shin Godzilla as an entertaining viewing experience. The movie is an undeniably bold, new entry in the franchise that explores the titular monster and its significance in greater depth, but it does not have a lot of rewatch value, in my opinion. Allow me to give a big shout out to MangaUK for their 2-disc DVD release of the film. The picture quality is excellent and I appreciate 70 minutes of bonus features.Overall score: 7/10

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200th Review: The Handmaiden (2016)

The Handmaiden; or, The Game of Deception
     My aunt said when you hear that guests will come, drop everything and go bathe the children. The guests like the smell of a clean baby. Miss, you are my baby. My aunt also said, give the babies candy when they bathe, to teach them that bath time is sweet.
I have been aware of Park Chan Wook’s erotic thriller The Handmaiden, inspired by Sarah Waters’ Fingersmith novel, since the moment when it hit the Cannes Film Festival in 2016. I was eagerly waiting for the premiere in my country, but work obligations and health problems prevented me from going to the cinema. Later on, having heard a great deal about the plot, I was reluctant to check it out due to evidently dark tone of the picture and NSFW sequences, which are not my cup of tea. However, after grabbing the DVD version for peanuts, I finally caved in. Similarly to Park Chan Wook’s other popular motion pictures, The Handmaiden is undeniably a masterpiece in terms of cinematography and storytelling.

Release Info

Directed by: Park Chan Wook Starring: Kim Tae Ri, Kim Min Hee, Ha Jung Woo, Jo Jing Woong

Language: Korean Original Title: 아가씨 Runtime: 145 min

Synopsis
Korean peninsula when it was occupied by the Japanese. Nam Sook Hee (Kim Tae Ri) is a young girl raised in the environment of scoundrels and smugglers. She is recruited by a certain “Count Fujiwara” (Ha Jung Woo) who wants her to assist him in his con. That is to say, the Count wants to seduce Japanese noblewoman Lady Hideko (Kim Min Hee), then marry her, and commit her to an asylum so as to steal her inheritance. Nam Sook Hee’s job is to act as Lady Hideko’s maid and persuade her to marry Count Fujiwara. While initially things go as planned, Nam Sook Hee suddenly realises that other participants of the con have ulterior motives.

What We Do in the Shadows
As Park Chan Wook stated in an interview, he was presented with Sarah Waters’ novel in the early 2000s and immediately wanted to adapt the book to film, transplanting the storyline from Victorian England to Korea in colonial times. The Handmaiden is divided into three separate parts, each focusing on the perspective of one character; and in order to reinforce this uncanny feeling of witnessing the events from different angles, the director really wanted to shoot the film in 3D, but he was prevented from doing so due to limited budget.

Nevertheless, technological limitations enforced advancements in scenography and cinematography. The Handmaiden is a tragic tale about personal traumas, unfulfilled desires, and deception. The characters roam through the house of Uncle Kouzuki which is divided into two halves: the Japanese-style wing and the Western section. In this artificial homeland within a homeland, the protagonists engage in a play of false identities and false intentions while withholding true feelings for each other.

Without giving away any spoilers, the safest way to describe The Handmaiden is to call it a reflective drama about forbidden love with lots of plot twists in the course of which the villains are repeatedly outwitted. The beginning may be a bit confusing and slow-paced (I actually had to rewatch a few scenes repeatedly to understand the exposition), but the viewers’ patience is rewarded half-way through the film when Part I transitions to Part II.

With regard to performances, I absolutely love all of the main leads. Kim Tae Ri and Kim Min Hee had amazing onscreen chemistry and the presence of Ha Jung Woo was a class-act. In addition, I liked Jo Jin Woong as a creepy uncle. His role may not be as pronounced as the others, but the actor steals the finale!

The DVD version I have does not come with any special features, apart from a stylish booklet which has photos from the set, cast and crew biographies, and an extensive interview with Park Chan Wook, from which I shared some pieces of trivia.

Recommendations
All things considered, if you like period pieces sprinkled with suspense and eroticism, then The Handmaiden is the choice for you. However, please be aware that the movie has a few NSFW moments which are not suitable for family viewings. Apart from this, The Handmaiden is yet another great motion picture crafted by Park Chan Wook.Overall score: 7/10

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The Wailing (2016) [Film Review]

The Wailing; or, Something Wicked This Way Comes

     It wasn't just one or two people. He took pictures of them when they were alive and then went back for more when they went crazy and died.

The Wailing is a South Korean supernatural/mystery horror directed by Na Hong Jin (The Chaser (2008)). The year it was released, it gained both critical and commercial success as well as lots of awards at many film festivals. I remember being vaguely aware of the movie back in 2016, but it was this year when I finally had the time to sit down and calmly check it out. Needless to say, The Wailing blew me away with its gripping plot and unconventional storytelling.
Release Info

Directed by: Na Hong Jin Starring: Kwak Do Won, Kim Hwan Hee, Jun Kunimura, Chun Woo Hee

Language: Korean Original Title: 곡성 Runtime: 156 min

 

Synopsis

Jong Goo (Kwak Do Won) is a local police officer who investigates a series of brutal murders in his village. The perpetrators had a rash and behaved in a very violent manner only to fall into a stupor and die after committing a murder. Jong Goo’s investigation leads him to believe in rumours about the Japanese stranger living in the mountains (Jun Kunimura) who is responsible for the spread of an unknown disease. John Goo starts having dreams about the stranger and, soon after, his daughter, Hyo Jin (Kim Hwan Hee), falls ill. Desperate to cure Hyo Jin, John Goo succumbs to the gossip and confronts the Japanese stranger. In consequence, a series of supernatural events ensues which make the police officer doubt who to trust and who to fight.

 

The Exorcist 2.0

I have to say this out front: The Wailing is the best horror film I have seen in the last ten years. I know that giving it a label of pure “horror” may be debatable, but that was my primary impression after spending two hours and a half watching a village that descends into primal frenzy.

 

The greatest advantage of the film is its ambiguity. There are subtle moments, grand sequences, and bold playing with the language of film itself that made me think about David Lynch’s Lost Highway (1997) or Christopher Nolan’s Memento (2000). After watching the film, my mind was crammed with multiple theories about what really happened in the story. Did everyone go crazy because of bad mushrooms? Maybe there were some supernatural forces working behind the scenes? Suffice to say, I am not the only viewer with similar thoughts. The film is deconstructed again and again by its many fans.

 

Director Na Hong Jin allegedly devoted the whole 6 years for the production of this movie. To be honest, the meticulousness of his endeavour is clearly visible on the screen. Apart from playing with conventions, we get to see some folktale stuff as well as references to Buddhism and Christianity. The further the story goes, the more gripping it becomes, which only made me regret that I checked it out just now. What is more, the final climax… OMG (no spoilers), it left me absolutely gobsmacked.

 

With regard to performances, Kwak Do Won does a very good job as a clumsy cop/loving father lost in a maze of vagueness and ambivalence. Kim Hwan Hee is wonderful as a daughter in distress. Long have I waited and now I saw such a professional child actor. Nevertheless, the ultimate praise goes to Jun Kunimura for his supporting part. Seriously, he should have won an Oscar for his performance!

 

Recommendations

If you have not seen The Wailing yet, do not repeat my mistake and watch it now. As I said already, it is a beautifully crafted film that sent chills down my spine. I would go as far as to say that it eats the classic William Friedkin’s The Exorcist (1973) on breakfast. The Wailing is in a league of its own. By the way, be extra careful when somebody wants to take a picture of you!

Overall score: 8/10

After the Storm (2016) [Film Review]

After the Storm; or, One Step at a Time

     The lottery isn't gambling. It's a dream. A dream you buy for 300 yen.

The theme of family seems to be the most important one for director Hirokazu Koreeda. During his career spanning three decades, he made lots of films focusing on (and examining) family. However, it cannot be said that once you have seen one Koreeda film, you have seen them all. After the Storm is the perfect example proving how different Koreeda’s family stories can be each time.
Release Info

Directed by: Hirokazu Koreeda Starring: Hiroshi Abe, Yoko Maki, Kirin Kiki, Taiyo Yoshizawa

Language: Japanese Original Title: 海よりもまだ深く Runtime: 118 min

 

Synopsis

Ryota Shinoda (Hiroshi Abe) is an acclaimed novelist who does research for his latest novel by working at a detective agency. He wastes money on gambling and can barely make ends meet. What is more, he has to pay child support to his ex-wife, Kyoko (Yoko Maki), or he won’t be able to meet up with their son, Shingo (Taiyo Yoshizawa), each month. Ryota tries to get additional money by offering shady detective work to the clients, but he mostly passes time on gambling and stalking Kyoko. He frequently visits his widowed mother, Yoshiko (Kirin Kiki), who moves on with her life after the death of Ryota’s father. There, he clashes with the sister, Chinatsu (Satomi Kobayashi) as both siblings suspect each other of taking advantage of their mother. Eventually, Ryota makes an attempt to win back his family.

 

“You always win at least 300 yen”

After the Storm was allegedly conceived by Koreeda after the passing of his own father in 2001, when he visited his mother coping with grief. However, the shooting did not start until 2014. At that time, the movie was filmed in the middle of Koreeda’s other production, Our Little Sister (2015).

 

Another striking aspect is Hiroshi Abe in the leading role playing the character called Ryota. Fans speculated that Hiroshi actually reprises his role from Koreeda’s earlier film Still Walking (2008), but the director himself explained that After the Storm is more of a companion piece than an actual sequel to that movie.

 

What After the Storm is actually about? The film focuses on the intimate portrayal of complex relationships within a family. It is quite funny, yet saddening at the same time, watching Hiroshi Abe as a beat-down novelist who does not know what he wants from life. He is not a Hank Moody-type though. It is more than entertaining to see Ryota following cheating couples or harassing high-school kids. He is a loser, but we cannot help rooting for him. Nevertheless, in a very psychological manner, Ryota becomes the very thing which he despised, his own (now deceased) father who was always broke due to gambling.

 

In a slow-paced fashion, Koreeda unravels how Ryota attempts to rebuild his family. The most instrumental figure in this endeavour is the character of grandma (brilliantly played by the late Kirin Kiki) who shares her warmth with the whole family. Not getting into any spoilers, the attempt of “rekindling” a bond between his ex-wife and the son during the storm allows Ryota to make a fresh start in life.

 

With regard to performances, Hiroshi Abe is awesome as always. I was quite surprised to see Yoko Maki (yes, the same Yoko Maki from Saikou no Rikon (2013)) in the role of the ex-wife, but she did great as well. Kirin Kiki obviously steals the show as the grandmother. Sosuke Ikematsu and Lily Franky provide decent supporting parts.

 

Recommendations

If there is a storm raging outside of your house. Then, the best way to wait it over is by watching After the Storm. As with most of Koreeda’s films, it is an engaging slice-of-life story which gives you some food for thought. I personally enjoyed this heart-warming film more than Shoplifters (2018).

Overall score: 8/10