During a secretive business trip away, Mark learns that his wife Anna is growing restless in what he believed was their happy marriage. Upon his return home, he learns from her that she ... See full summary »
A teenager called Noriko Shimabara runs away from her family in Tokoyama, to meet Kumiko, the leader of an Internet BBS, Haikyo.com. She becomes involved with Kumiko's "family circle", ... See full summary »
Three key moments, all of them sensual, define Ana's life. Her carnal search sways between reality and colored fantasies becoming more and more oppressive. A black laced hand prevents her ... See full summary »
Charlotte Eugène Guibeaud,
During the Prussian army's invasion to Poland in 1793, a young Polish nobleman Jakub is saved from the imprisonment by a stranger who wants in return to obtain a list of Jakub's fellow ... See full summary »
A graduate-school student has a friend who is pure evil. His friend and he are out driving one night when they hit a drunkard and the friend leaves the accident victim to die. The student's life then goes downhill from there. Written by
The first movie which used elements of 'gore' as FX to a significant degree. See more »
While Shiro is on the rope bridge, we see him at various times hanging on to the side handrails. Between shots, without him having changed position, these handrails quite noticeably change in diameter from thin cables to a much thicker cable, indicating that some shots were filmed on a real bridge, others were filmed on a studio mock-up. See more »
So you want to turn me in for manslaughter?
We're the ones who killed him. We caused it. Let's go together. Please.
That might ease your conscience, but I'm not interested. It'd be stupid. He was drunk. He ran into the road. It was basically suicide. Besides, he was just some yakuza scum. He's not worth the best years of our lives.
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Alright, I think I know what you're here for: the Buddhist Hell scene at the end, that, without spoiling anything, offers some really oldschool splatter. Well, you should probably forget it. That scene wasn't made to shock you; it was made to shock 1950s and 60s audiences who were used to stately, formal, nearly stage-playish cinematic conventions--conventions that Jigoku follows to potentially alienating effect, despite its then unprecedented violence. There are gems of stylistic genius here and there, but this is of greatest interest to anyone into Asian mythology or the history of Japanese horror.
The first half of the film is a thinly-veiled morality play crossed with a ghost story that, despite some heavy contrivances plot-wise, works fairly well dramatically as it slow-burns into inevitable purgatory. For all its syrupy melodrama, editing hiccups and various other low budget blemishes, Jigoku is a very poetic visual experience with many otherworldly images that will linger in your head long after you forget the film's flaws.
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