Exte: Hair Extensions

Director: Sion Sono
Year: 2007

"What lovely hair you have..."

It took me a while to sit down and watch Exte. Mainly because the plot sounded ridiculous: cursed hair extensions that kill the people who wear them? but being a massive fan of Sion Sono (Love Exposure, Suicide Cirlce, Cold Fish) I was determined to give it a shot. Fortunately, it turned out to be far better then expected.

Exte opens in a shipping dock. Two custom workers discover the body of a young women among a create of hair used for extensions. After an autopsy we discover that the young woman's organs have been harvested, probably for illegal trade. Gunji Yamazaki, the morgue night watchman (and twisted hair fetishist) is present during the autopsy. Yamazaki notices that the corpses hair has started to grow. Not just on her head no,no, the hair is poking through her empty eye sockets, protruding out of her mouth and pretty much every other orifice imaginable. This excites Yamazaki who hurriedly takes the corpse home.

Running parallel to the story of the crazy hair freak we have the tale of Yuko Mizushima. Yuko is working as a hairdressing assistant at a fancy salon, Mizushima has a burning desire to become a stylist and when she's not at the salon cutting hair she is practising at home on her mannequins. Mizushima's life is suddenly interrupted by her drunk and abusive older sister, Kiyomi, who turns up at the house and leaves her young daughter, Mami, in her care. Child neglect seems to run in the family as Mizushima leaves the extremely shy Mami by herself everyday while she works.

Its not long before Mami gets bored and decides to visit Mizushima at work. She gets lost and is found by Yamazaki, who just so happens to be walking around filming women's hair. Yamazaki helps Mami find the hair salon and is subsequently introduced to Mizushima. He falls in love with her (hair) at first sight.

Back at Yamazaki's lair, the corpse is growing hair at an uncontrollable rate. Yamazaki decides to cut the hair and sell it as extensions to numerous salons around town, including Mizumshima's. Unfortunately the hair is cursed and when it is placed on a human the hair viciously kills them.
In fear of spoiling a great ending I shall stop here.

If you see a copy of Exte in a shop you’ll take one look at the cover and think “Ah god, not another Ringu imitation”, I know I did. That is because of stupid UK distributors who think that in order to sell the product it must be compared to previous hit Japanese horror titles. Take for instance the quote on the cover of Exte:

“Better than The Ring, The Grudge and Dark Water” Gorezone (who?)

Well, yes, Ringu and Dark Water are better than Exte in my opinion but I also think The Shining is better than Evil Dead yet those films are so loosely related I don’t see any conceivable point in comparing them and that’s the problem we have here. Grouping Exte with these three films instantly misleads potential viewers. In one hand we have the casual viewer who enjoyed Ringu and The Grudge, although probably thought the narratives and overall ‘Japaneseness’ of the films a little strange, but watching it made them feel intelligent and inimitable. In the other hand we have the actual cinema fans. The kind of people who can appreciate Ringu and The Grudge (actually maybe not The Grudge as I thought that film was pretty dire), but never fell for the hype and knew there was more to Japanese cinema than the ‘Tartan Asia Extreme’ label. The first group of people will buy Exte based on the fact its been compared to Ringu etc... but when they watch it they'll be very disappointed and confused. Whilst the second group will be put off by the comparison and will miss out on an intelligent and thought provoking example of contemporary Japanese horror cinema.

You see Exte isn't your straight forward J-Horror that the cover leads you to believe. It's an eccentric and surreal black comedy disguised as a horror film, on top of that you have the kind of poignant underlining cultural messages you'd expect from Sion Sono. Sono's message here is in reference to the lengths and extremities young women (and men) will go through to look beautiful. Yet Sono doesn't use Exte as a way of discouraging the message, its almost as if he's making fun of it. The deaths that befall the unlucky extension wearers are so comically over-the-top all traces of horror are instantly removed. I found myself laughing at the death of this particular women:

Having said that there are some gruesome moments. The flashbacks in which we see the organ harvesting of the young cursed woman are pretty nasty. But I think its Ren Osugi's portrayal of Gunji Yamazaki that wins the most disturbing prize. Yamazaki is one of the most bizarre villains I've had the privilege of watching. He is a deeply disturbed individual but has the charm and grace to hide it from all of those who meet him. Yamazaki is the only character that manages to switch between lackadaisical kooky to psychopathically insane successfully and realistically. Imagine a cross between Frank Booth and The Joker.
The other key stars in the film play there roles well but no one will be winning any awards for outstanding acting.

The only thing that lets Exte down is young Mami's story. She has been abandoned by her mother and must live with Mizushima. The whole 'neglecting parent' trend is common in a lot of Japanese horror but it really doesn't fit Exte. The main story has enough social commentary that Mami's story makes the plot feel slightly cluttered. The film is relatively short and the fact that so many factors and messages are crammed in make it hard to be sure what Sion wants the audience to focus on. Having said that the scenes in which Mami and Yamazaki share add a paedophilic edge to the already fucked up character but overall Mami and her side story seem pointless and wholly lackluster. Also the SFX could be better...
Overall Exte is a great film. Its funny, inventive, eccentric and surreal. The final confrontation is worth watching if anything else.

Top 10 Japanese Horror Films - Part 2

4. Flowers of Flesh and Blood

Director: Hideshi Hino
Year: 1985

Flowers of Flesh and Blood is the second instalment in the Guinea Pig slasher/body horror film series that ran from the 1980-90s. All of the Guinea Pig films were controversial in their own rights but none of them caused as much outrage as Flowers of Flesh and Blood.

The story revolves around a man dressed as a samurai kidnapping a woman, drugging her and then taking her home. Once at home he fastens her to a bed and begins to dismember her; slowly and graphically. VERY GRAPHICALLY. The film is almost 30 years old yet the realism is startling. It is so realistic that upon watching Flowers of Flesh and Blood actor Charlie Sheen thought he was watching a genuine snuff film. He proceeded by contacting the FBI who then went on to investigate the film-makers and actors. The case was dropped once the actress was found alive and well but as a result a 'making of' documentary has been added to every subsequent release so that the misunderstanding doesn't happen again.
It truly is a horrific film and one that has stood the test of time. The use of prosthetics and carefully placed camera shots are master class. Absolutely not for the faint heated, Flowers of Flesh and Blood continues to repulse viewers and inspire directors. It gave birth to the 'torture porn' genre yet nothing has surpassed it yet.

3. Imprint

Director: Takashi Miike
Year: 2006

Originally intended to be shown on cable television as part of the Masters of Horror series, director Takashi Miike, as he so often does, went just a little too far. The episode was to be premiered along with the rest of the series but the overtly graphic and disturbing content led to it being shelved. It wasn't until the release of the DVD that audiences understood why.
Set in the 1800's, an American journalist returns to Japan in hope of finding the prostitute he had fallen in love with, Komomo. During his search he learns of the grotesque torture that befell her after he left.
He arrives at her last known whereabouts, a small shadowy island, an island devoid of humanity and sanity

  "This island isn't in the human world; demons and whores are the only ones living here".

Few of the inhabitants wish to speak to the American but he soon encounters a deformed prostitute who claims she is friends with his beloved Komomo. She explains that she has passed away and later when he is drunk he begs her to tell the story of her demise. This is where the true horror begins.

Miike is a director who doesn't like to shy away from the camera. He will often lull his audience into a false sense of security but when he wants to repulse he is relentless. Imprint is no exception. The torture of Komomo is pure unadulterated savageness. Miike is masterful at making you fall in love and sympathise with characters before he brutalises them; making the scenes twice as hard to watch. It really is surprising what Miike has squeezed into 60 minutes. There is a deep love story, a tragic twist, an unpredictable ending and so much social context. I don't want to ruin too much or spoil it for anyone who hasn't seen it but it's an impressive feat.

Imprint is a pure watch-between-your-fingers, cringe fest.

Sadako

Director: Tsutomu Hanabusa

Year: 2012

Oh dear...

It's been 15 years since Hideo Nakata introduced the world to dripping wet dead girl, Sadako. A demonic spirit determined to kill whoever watches her cursed videotape. During those 15 years Sadako has been the focus of sequels, prequels, international remakes and TV shows. People really need to learn when enough is enough. The franchise is as dry as an old well...

Disgraced artist, Seiji Kashiwada, vows to get revenge on his belittler’s and the world by resurrecting Sadako. Kashiwada broadcasts his death live, thus spreading Sadako's curse throughout the internet.
It's not long until rumours spread of Kashiwada's cursed video and of the viewers who commit suicide instantly after watching.
Schoolteacher, Akane, overhears her students talking about the mysterious video and when they start dropping like flies she begins to investigate. With the help of her boyfriend, Takanori, and his geeky friend they begin to learn of the videos origins. Things go awry after Takanori is kidnapped by Sadako, though luckily Akane possess a special power (as you do) that can destroy the evil spirit and save the world.

Any sequel is going to face harsh expectations especially with a franchise as popular as Ringu. I, on the other hand, went in with an open mind. I knew from watching the trailers and the 3D gimmick that Sadako was being taken in a different direction to previous entries but I never expected it to be this different.

The thing that made the original Ringu so terrifying was it's relentless brooding atmosphere. You could feel the tension and horror in every gloomy lit scene. An evil of great power was lurking just beyond sight and we never knew where or when she would strike.
Sadako instantly leaps into the shocks. She pops out of TVs, phones and PCs like some hyperactive Jack-in-the-box. It happens so often and expectedly that it just isn't scary; it's laughable. It might have been slightly more 'shocking' if I had seen it in 3D, although the CGI is so atrocious I hardly doubt it.

The plot moves so rapidly that it can be hard to follow. Too many characters and locations make it feel cluttered. Characters are barely given an introduction before they are killed off or we are expected to know the details of their lives automatically. Character development obviously wasn't the focus of this film but there is so little of it in Sadako that you can't emphasise with them and ultimately give up caring. It wasn't until half-way through the film that I realised Akane and Takanori were a couple. That is just how lifeless and flat these characters are portrayed. 

Even the actors are horrified at what they are watching...

Around the half-way mark the plot really fails and the film crumbles around itself even further. I still don't understand the final set piece in which Akane is chased around an abandoned warehouse by an army of spiderlike Sadakos. There really isn't anything worth watching for, not even for a small slice of entertainment you might expect from a film like this. Sadako disappoints in every possible way.

I can't even recommend it to die-hard fans. There is no horror, intelligence or fun to  be found here. Sadako wants to be so much but it doesn't get the balance right. It's 60% slasher, 30% creature feature and 10% mystery/thriller. Actually its just 100% bullshit. 

Hideo Nakata's “The Complex”

Nakata, the father of contemporary J-Horror, is once again delving into the genre he does so well. It's been over 10 years since his hair-raising Dark Water and during the course of that time Nakata's focus has been on thrillers and international films. Whilst some of his works over the past 10 years are noteworthy (Kaiden and Death Note: L, Change the WorLd are 2 great examples) I have been yearning for a full blown horror and one that is worthy of his name. The Complex looks promising.

The Complex follows Asuka, a student nurse who moves into an apartment complex which has been cursed by mysterious deaths following an incident that happened 13 years earlier. Asuka often hears strange scratching noises from the adjacent apartment, she decides to investigate...

The Complex will be released in Japan on 18^th May. So, an English translation won't be available for quite some time. Still, this is one release I am very excited about!

For more trailers visit the official site.  

Top 10 Japanese Horror Films - Part 1

The reason I became a fan of Japanese cinema is largely due to my other obsession: Horror.
I grew tired of Western horror films a long time ago but I never grew tired of the genre.  As I started branching out and finding new ways to satisfy my horror cravings I found myself at a midnight screening of Kiyoshi Kurosawa's Pulse. I was blown away. It was everything I was looking for in a horror film, it restored my faith in the genre and set me on my journey through the remarkable world of Japanese cinema.
In tribute I dedicate the following few posts to my favourite examples of Japanese horror cinema.
Enjoy.

10. Ring 0: Birthday
Director: Norio Tsuruta
Year: 2000

Everyone is familiar with Hideo Nakata's Ringu series. It gave birth to the Japanese Horror boom of the 90's and spawned many imitations and American remakes.

For me the best in the series was not directed by Nakata. Norio Tsuruta's Ring 0 is a prequel, taking place 30years before the events of the original Ringu. The film follows the life of Sadako, the girl who later becomes the iconic spirit that curses whoever watches her videotape. The film does a remarkable job at exploring the origins of such a feared and mysterious villain.
Surprisingly, Sadako wasn't always evil. Ring 0 portrays her as a shy and confused teenager. She joins an acting troupe and falls in love with a fellow member. Though, It isn't long before Sadako's supernatural abilities surface. The troupe fear they have been cursed be Sadako and make it their mission to get rid of her. The story reminds me of Stephen King's Carrie, a teenage girl with powers struggling to fit in and lead a normal life. Everybody has their limit, and after severe mental and physical abuse, Sadako reaches hers. The final 20minutes of Ring 0 are truly terrifying. Fans of the series will love this film but it also works well as a stand alone entry.

9. Marebito
Director: Takashi Shimizu
Year: 2004

Marebito was a real surprise for me. I had grown to think that Takashi Shimizu was capable of nothing  more than his Ju-on: The Grudge series. The Grudge never did anything for me, I thought it was a rather poor Ringu imitation that relied too heavily on shock tactics and not enough genuine scares. The story lacked originality and was overly predictable.
Marebito changed all of that.  The direction is far more creative and experimental and the story is much darker in tone than The Grudge series. It is hard to believe Marebito was created by the same director.
Marebito is, for the most part, a horror film. yet it wont appeal to general horror fans. The horror expressed in Marebito taps deeply into our primal fears. Fear of the unknown, fear of the dark, fear of insanity and the search for fear itself. The film moves at a slow pace and never gives to much away. It creeps into your mind and will stay there for weeks.  An extremely bizarre film that works on every level.

8. Tetsuo: The Iron Man
Director: Shinya Tsukamoto
Year: 1989

Made on a small budget and running  a brief  67 minutes Shinya Tsukamoto's Tetsuo: The Iron man is an extremely graphic, high octane and surreal masterpiece. The film opens with a man cutting a massive gash into his leg only to shove a large rod of iron into the wound. The opening scene perfectly encapsulates the tone of grotesque eccentricity that’s found throughout the entire film. The narrative is sporadic and the plot is thin but that only reinforces Tetsuo's charm. How else could we enjoy "the metal fetishists" metamorphosis into a hulk of twisted metal?
Tetsuo is beautifully shot in 16mm black and white. This, on top of the experimental absurdity of the films content, often draw comparisons to David Lynch's Eraserhead. Its a highly original film that is still providing inspiration to many.  The manic and chaotic visual style will keep you thinking  long after watching. The hallucinations and disturbing imagery will keep you awake.


7. Ugetsu Monogatari
Director: Kenji Mizoguchi
Year: 1953

Directed by Kenji Mizoguchi at the end (and peak) of his career, Ugetsu is the retelling of a traditional Japanese tale about a potter who is led away from his impoverished village and wife in hopes of selling his wares in the big cities. His hunger for wealth and a better life blind his judgement and he falls under the spell of a ghost.
It's a beautifully constructed film whose narrative is obscure and the surreal quality of the imagery often leaves the viewer poised between the world of the living and the dead.
As much as it is a ghost story, Ugetsu also deals heavily with the theme's of lose, greed and the monstrosities of war. Although Ugetsu takes place during the 16th-century, the social stigmas it dealt with reflected very strongly within the post-war 1950's Japanese public.
Ugetsu still stands today as one the most eminent ghost story's ever recorded on film. It's inspiration and impact on the genre is still clearly visible.

6. All About Lily Chou-Chou
Director: Shunji Iwai
Year: 2001

Not a horror film in the conventional sense yet the horrors it depicts create some of the most startling and disturbing scenes that even the most hardened horror fan will find hard to watch.
Set in modern day Japan, All About Lily Chou-Chou revolves around the lives of several 14 year-old students. The title is a reference to the fictional singer some of the characters are obsessed with.
The film delves into the lives of it's characters in an almost documentary style. The use of digital cameras and hand-held shooting helps reinforce the idea of reality. The film begins almost like a coming-of age/buddy picture before slipping into the dark realm of ijime. Ijime is Japanese for bullying, though ijime has declined in recent years it is still rampant in  schools through-out the country. Ijime is one of Shunji Iwai's main themes in All About Lily  Chou-Chou. Yet, it seems far more  than just a theme. As you watch the film you get a  strong feeling that Iwai is literally concerned and horrified about ijime and the devastating effects it can have on victims. All About Lily Chou-Chou contains some of the most heart wrenching depictions of cruelty ever recorded. The film leaves you with very little hope or resolve.
It's a bleak, emotional and profoundly disturbing journey through the dark side of Japanese adolescence.

5. Uzumaki
Director: Higuchinsky
Year: 2000

Adapted from the beautifully twisted manga by Juniji Ito comes Uzumaki, one of the most bizarre and  unique horror films ever made. Based on the manga of the same name, Uzumaki is set in the small rural town of Kurouzu. It's generally a sleepy town that has little to offer in terms of excitement, yet the inhabitant's enjoy life.
Uzumaki is told from the view point of high-school student Kirie. Kirie starts to notice strange behaviour among the towns inhabitants. Whilst walking home she encounters a man recording the spiral on a snail shell, he appears almost hypnotised. It's not long until the whole town is becoming fatally and lethally obsessed with spirals. The spirals then begin to take on a malevolent life of their own. They enter and possess the townspeople, slowly and horrifically twisting and distorting their victims bodies and minds.
The other thing you'll notice about Uzumaki is the highly inventive visual style. The films heavily tinged green colour adds to the feeling of sickness that has enveloped the town. Higuchinsky employs a lot of experimental camera and editing techniques: POV shots; tracking shots; jump cuts and flash cuts; fades to black, white to red; fast motion and reverse motion. This compiled with the outstanding cinematography and eclectic soundtrack makes the audience dizzy but this visual hyperactivity only strengthens the horror and confusion Kirie is facing. We are being sucked into the spiral whether we like it or not.
 
Also, lets not forget that Uzumaki features some of the most horrific death scenes in contemporary Japanese cinema. You wont have seen anything quite like Uzumaki.

Right, that concludes this weeks post. Next week I will reveal the final 4.
Thanks for reading.

Onibaba

Director - Kaneto Shindo
Year - 1964

Onibaba is an excellent example of the Japanese new wave, a movement that started in the late 50s. The new wave was created by the generation of film directors who grew up during WWII and its subsequent aftermath. The war changed a lot of things within Japanese culture but nothing more so than the way in which young people perceived the past or 'traditional' Japan. The new wave generation had witnessed the aggression their country had dealt and in return witnessed the devastating power of the atomic bomb. Gone where the days of respect and politeness, the dawn of ugliness was rising. The new wave focused on depicting the darker side of humanity and the changes within the Japanese youth culture, as a result many films were criticised for showing Japan in a 'negative light', yet the audiences (especially the younger audiences who could relate with the films) lapt them up. So the New Wave boomed.

Anyway, more on the new wave later...

...back to the film. Onibaba is set in rural Japan during the fourteenth century. War is raging and the lands are in disarray. A young woman and her mother-in-law live in a small hut within the midst of a vast grass field. With the men at war the women find life difficult so they make a living by killing Samurai who foolishly stubble into their long grass. The women strip the bodies and sell their armour and weapons for food. All seems to be going swimmingly for the two women until the arrival of Hachi. Hachi went to war with the husband of the young woman/son of the in-law, but has returned alone. Hachi tells the bereaved that their husband/son is dead and that he is lucky to have escaped with his life. Its not long before Hachi joins the two women in their 'murder-for-profit' scheme and shortly after Hachi and the young woman start a lustful relationship. Obviously the mother-in-law isn't happy with the relationship. She thinks it's sinful for Hachi to betray his friend by sleeping with his widowed wife but more importantly she fears that the young women will leave her for Hachi, rendering her practically useless.
One night a Samurai stumbles across the in-laws hut. The Samurai is wearing a demon mask and he is lost. The mother-in-law agrees to show him out of the grass field. She strategically kills the samurai and steals his mask. Being the evil genius that she is, the mother-in-law uses the mask to scare her daughter-in-law and Hachi into never seeing each other again. Unfortunately her plan backfires hideously.

Onibaba isn't a true horror film (although the final scene will cause many sleepless nights). It's a psychological thriller that plays upon claustrophobia and isolation. The films scenes are split by close-ups of grass slowly swaying in the wind. These short shots constantly remind us that the film is set in a micro-cosmos, it works so effectively that you barley remember that a world exists outside of the films minuscule proximity. The minimal locations (only two huts actually appear in the whole duration) completely draw us into the characters lives and the world in which they occupy. Kaneto uses character progression and narrative to full effect. The director constantly pits us against each character and slowly unfolds the darker side of their personalities. The characters we are initially introduced to are not the same people by the end of the film. We sympathise with the mother-in-law because without the young women she will be completely alone and helpless yet in perfect symmetry we want the young women and Hachi to be together. As a result we end up simultaneously disliking and sympathising for each character. Even though the characters participate in cruel and selfish acts, deep down we know that they are committing these acts out of desperation underlined by the urge for true happiness. This is what makes the final scene so horrific. Its torture because we want all the characters to be at peace, yet we know its not going to work out that way.

Onibaba is a visual masterpiece. Its shot in black and white by cinematographer Kiyomi Kuroda. Even though colour film had been readily available in Japan since the early 50s, many of the new wave films opted to use black and white. The main reason behind this decision was probably funding but Onibaba benefits from the two-tone aesthetic. The films high contrast and dark cinematography perfectly match the films equally dark tone. Quite often the distinction between day and night is hard to tell but that just further adds to the films claustrophobic atmosphere. Onibaba makes particularly good use of fast paced editing and off-kilter camera angels to heighten the sense of disorientation and confusion the characters themselves are feeling.

What Onibaba does so well is combine tradition Japanese life with the the new wave society. It's almost like watching an episode of Eastenders set during the dark ages (but much better of course). The themes of Onibaba focus on generation differences and how war degrades people, both of which are key staples in the new wave movement. The 'generation difference' is forefront throughout the entire film. The young women wants to have a lustful relationship and desperately desires to cut all ties with the in-law. Traditional society would have frowned upon both of these wishes heavily, yet her determination and unwillingness to abide her elder is a statement of the Japanese youth during that period of time, much to their elders protest.

Overall, Onibaba is a perfect starting point for those interested in the Japanese new wave. Its also a decent alternative for those who have only been exposed to the huge batch of mediocre Tartan Asia Extreme releases and the more contemporary offerings from Third Window Films. Much of contemporary Japanese horror are heavily influenced by the new wave masterpieces of the 60s and 70s, so you owe it to yourself to watch this timeless classic that is still as impacting and disturbing today as it was when it was released over 45 years ago.

Confessions - Kokuhaku

Director - Tetsuya Nakashima
Year - 2010

The first thing that struck me whilst watching Confessions was how it differed from my expectations. I've been a fan of Nakashima's work for many years and have grown to respect and admire his style. Two of his greatest works, Kamikaze Girls and Memories of Matsuko, are both quirky comedies layered with human and social drama. Always colourful and full of bizarre and interesting characters, Nakashima's films could be instantly recognised. Until Confessions, that is.
Gone are the colourful settings, the light-hearted drama and odd-ball comedy. Confessions is a film about revenge. It's a dark and moody piece that deals with some of modern Japan's ever present social issues. Although its a detour from Nakashima's usual style he seems completely at home. One thing Nakashima does well is story and Confessions is no exception. The story unfolds beautifully, its fully realised and ends with one of the most brutally emotional set pieces in contemporary Japanese cinema.

The film opens with school teacher, Moriguchi played by Takako Matsu, addressing her unruly class about the news of her retirement. As she speaks it is apparent the students have absolutely no interest in listening to her. Instead their main concern is finishing their milk, chucking the cartons around the room, texting, shouting and basically acting like monkeys. Moriguchi has lost control of her class but there is a much more serious reason for her early retirement.
Moriguchi's four-year-old daughter was found dead in the school's swimming pool. The death was ruled as an accidental drowning, yet through pieces of evidence she gathers alone, Moriguchi discovers the death wasn't accidental. Furthermore, she knows exactly who the murders are. She reveals to her students that her daughter was murdered by two pupils in the class.
Enraged by the fact that even if she bought the two murders to justice their status as minors would protect them from any serious legal penalty.
She decides to take the matter into her own hands. Moriguchi calmly informs her students that she has mixed HIV-infected blood into the milk of the guilty pair. She goes onto to say that they will soon contract the disease and die a slow and agonising death. Horror, fear and revulsion rips through the class and it's not long before the paranoid students start turning on one another.

The story is told through a series of 'Confessions', each from a different characters view point. Its an extremely effective and complex narrative technique which leads to layered characterisations. As we shift backwards and forwards in time and revisit the same scenes through the eyes of a different character we learn there is more to the story then what was presented at the start. Revelations and motivations are unravelled and we're left wondering whose side we should really be on.  It's a fascinating journey and each 'Confession' will leave you shocked and eager for the next.

Confessions is a purposefully gloomy film. Rain is an ever present theme and the foreboding storm clouds grow thicker as the film progresses, lending a sense of impending doom, as if the clouds could burst at any minute. It creates a thick and claustrophobic atmosphere. The visual aesthetic perfectly mirrors the tone of the story. It's heavily stylised, not just through cinematography but also through visual effects. The camera will often delve into slow-motion at exactly the right moment, unnatural lighting will occur to emphasise a scene, montages are used wonderfully. The overall effect gives Confessions a dreamlike quality, nothing seems quite real and we find ourselves wondering what is true. It effectively helps put the viewer into the same mindset as the characters.

The soundtrack is brilliant. Each track has been carefully selected to mirror the images on screen. There is a wide variety of music used in the film, from internationally famous bands such as Radiohead to more obscure artists. Whether it's the screeching guitar-driven rock of Boris or the insanely poppy tunes of AKB48, rest assured, this soundtrack is one worth purchasing. It works just as well outside the film as it does in it.

Overall, Nakashima has outdone himself. He's proven that you can completely reinvent yourself before becoming repetitive and predictable. This truly is a remarkable film. Thought-provoking, emotional, super-cool and stylish. Confessions wont disappoint.