Every Monday at 6 pm a young woman is murdered in the subway. The psychiatrist Setsuko Suma is called in to assist the police. The trail leads to another psychiatrist - Dr Rei Aku - who ... See full summary »
After a tragic car accident where his girlfriend Ryôko Ooyama (Nami Tsukamoto) died, Hiroshi Takagi (Tadanobu Asano) suffers amnesia with his memories completely blanked. When he sees a ... See full summary »
Benkei, a master fighter and killer, vows never to take another life after his conversion to Buddhism. His faith in pacifism, however, is shaken and ultimately broken by the attacks from a ... See full summary »
The Kobayashi family finally get the chance to move out of their tiny, cramped Tokyo apartment in favour of the suburban house of their dreams. But all is not well: the house is infested by... See full summary »
A man sees his life changed for ever when his fiancee shoots herself. Baffled, he wants by all means to obtain such a weapon of destruction and he finds himself caught in a violent group of... See full summary »
Dead End Run is de eerste film van Ishii sinds het overweldigende Electric Dragon 80.000 V (vertoond op het festival in 2001), waar sommige argelozen nog altijd met verbaasde oren aan ... See full summary »
A young boy gets jolted with electricity as he's climbing a tall cable pylon. As he gets older, he experiences intense fits of violence in which bolts of electricity burt from his fists. Elsewhere in Tokyo, there is an electronics wizard who also happens to be a vigilante with a taste for electric weapons. When the pair catch each other's attention, the result is a battle that will light up the city. Written by
Jean-Marc Rocher <firstname.lastname@example.org>
The entire point of comic books was that their art was ragged, untrimmed, spontaneous; artists were usually paid by the page, worked for daily strips, or monthly publications, Superman and Batman were launched in this way. As with the very means, a comic was about a gripping story quicky sketched. So the Hollywood craze with superheroes, bulky, sprawling films shooting for months while a small army of SFX experts are tinkering away at the designs, has directly negated what was so vital about these things in the first place. The apogee of this is the latest Batman films, no longer a product of pulp fiction, but of the most serious aesthetic and drama.
This beats with that primitive heart of comic-books; the DIY ethos, here especially channeled through a scrapyard punk rock aesthetic, and so like punk, the fast, hard-edged rhythms, the stripped-down instrumentation. The teenage energy.
If all this recalls Shunya Tsukamoto, it's because Sogo Ishii was the inspiration. He fathered the No Wave we find in Tetsuo.
Story-wise it's about these two man-technology hybrids, Dragon Eye Morrison and Thunderbolt Buddha, battling for control of the neon skies of Tokyo, for the privilege of harnessing the energies into seeing.
Dragon Eye is unbridled animal desire, pure violent instinct awakened by childhood abuse. Every night he sits down on his bed for shock treatment. He channels the energies back into the world with his electric guitar. The other guy is more intriguing, with the all-encompassing eye of the Buddha that permeates the veils of existence recast as a contemporary, technological eye that eavesdrops everywhere. Wired with industrial gadgetry, he monitors everything from his rooftop. His face is an amazing two-face design; half human, half a metal mask of the Buddha.
When they clash the movie erupts in white-hot blistering chaos, convulsing from the sheer power of the energies unleashed. Anime, punk rock, New Wave cinema, cold cityscapes, the anarchic edge of youth; at 55 minutes it's barely a full movie, but it's a melting pot of awesome.
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