Ruthlessly murdered by her father, the ghost of a seer's daughter kills all those seven days after they watch the strange contents of a mysterious video tape, unless the viewer finds the escape clause.
After winning a custody battle for her daughter, Yoshimi tries to make a new start. The apartment she moves into seems perfect at first. Soon though, strange things begin happening. Huge water stains appear on the ceiling and drip constantly, more liquid oozing into the rooms every day. She calls the landlord in but he refuses to do anything about it. A child's red bag shows up in odd places and soon the child herself starts appearing. Yoshimi then discovers the origin of the ghost... Written by
Second film by Hideo Nakata to be based on a novel by Koji Suzuki. He previously directed Ring (1998) and its sequel Ring 2 (1999). See more »
(at around 1h 3 mins) When everyone is up on the roof examining the water tower, a flap of cloth or pant leg can be seen at the top of the ladder. This could be something attached to the tower, but later when she climbs it by herself and we see the whole thing, no such cloth is visible. See more »
Slow building nervousness and unease, building to shocking revelations. An excellent movie and performances.
A story very similar in certain areas to another story by Hideo Nakata, but different enough to stand apart. Using similar techniques to the Ring series, Nakata employs askew camera angles, wide shots and the mixing of foreground and background, showing normality in one and abnormality in the other, often with the horrors in the background, unnoticed by the foreground characters. The use of audio, and indeed lack of in parts, heightens the tension and the feeling of unease even more. Throughout the film a nervousness grows, beginning with a slight niggle of something wrong, building to the final shocking realisations. Despite understanding the story before the end is reached, Nakato manages to pull you on through the story, in fact, even past where other films would have ended. Acting from the child is stunningly good, as is with the mother, with much of the story played out in the emotions of their faces rather than their actual words. This is perhaps what succeeds so well, the realism of the dialogue and the slow brooding story, with a distinct lack of action. Something Hollywood attempts to recreate in their unoriginal remakes.
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