IMDb > Suicide Club (2001)
Jisatsu sâkuru
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Suicide Club (2001) More at IMDbPro »Jisatsu sâkuru (original title)

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Suicide Club -- A detective is trying to find the cause of a string of suicides.

Overview

User Rating:
6.7/10   12,826 votes »
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Director:
Writer:
Shion Sono (written by)
Contact:
View company contact information for Suicide Club on IMDbPro.
Genre:
Tagline:
Sore de wa minasan, sayonara [Well then, goodbye everybody.]
Plot:
A detective is trying to find the cause of a string of suicides. Full summary » | Add synopsis »
Plot Keywords:
Awards:
2 wins & 1 nomination See more »
User Reviews:
One of the best films of the 2000s See more (143 total) »

Cast

  (in credits order)

Ryo Ishibashi ... Detective Toshiharu Kuroda (as Ryô Ishibashi)
Masatoshi Nagase ... Detective Shibusawa
Mai Hosho ... Nurse Atsuko Sawada (as Mai Hôshô)
Tamao Satô ... Nurse Yôko Kawaguchi
Takashi Sudo ... Security Guard Jirô (as Takashi Nomura)
Rolly ... Muneo 'Genesis' Suzuki
Joshua ... Slave Boy
Masato Tsujioka ... Genesis' Gang
Kôsuke Hamamoto ... Genesis' Gang
Kei Nagase ... Genesis' Gang
Yôko Kamon ... 'The Bat' Kiyoko
Maiko Mori ... Kiyoko's Sister
Sayako Hagiwara ... Mitsuko (as Saya Hagiwara)
Takatoshi Kaneko ... H.S. Boy on the Roof
Mika Miyakawa ... H.S. Girl on the Roof
Kei Tanaka ... H.S. Boy on the Roof
Chika Hayashi
Nobuyuki Mihara ... H.S. Boy on the Roof
Nahana ... H.S. Girl on the Roof
Yôhei Katô
Sadaharu Kondô
Suzunosuke (as Suzunosuke Tanaka)
Satomi Hisanaga ... H.S. Girl on the Roof
Seiko Hashimoto ... H.S. Girl on the Roof
Anri Maruyama
Mai Kanda
Noriyoshi Shioya ... Masa - Mitsuko's Boyfriend
Kasumi Takahashi ... Masa's Mother
Hajime Matsumoto ... Tôru Kuroda
Mika Kikuchi ... Sakura Kuroda
Keiko Suzuki
Yukijirô Hotaru
Miwa Ôtsuka
Makoto Utsugi
Ken Ishikawa
Rika Nakanishi
Kaede Tamiya
Atsushi Okuno
Takuji Suzuki
Madoka Arai ... Genesis' Victim
Taihei Hayashiya ... Rakugo Storyteller
Atsushi Numata ... Stand-up Comedy Duo
Katsuhiko Watanabe ... Stand-up Comedy Duo
Takamitsu Ôkubo ... Father
Yuhei Okabe ... Son (as Yûhei Okabe)
Nono Yamada ... Daughter
Tateo Moriyasu ... Kiyoko's Father
Chieko Misaka ... Theatre Troupe
Asami Hidaka ... Theatre Troupe

Hiroko Yashiki ... Theatre Troupe
Haruna Matsuoka ... Theatre Troupe
Tomoko Shimazaki
Kikuko Sakurai
Satoko Tanigaki
Satomi Yoshida
Hideaki Hagiwara
Yûta Yamazaki
Tsudoi Nishi
Naoko Tsuchiya
Kika Nishimura
Miki Emura
Ayano Nakamura
Yûko Sano
Kôichi Tazawa
Ryuji Kasahara ... Punisher (as Ryûji Kasahara)
Non Kuramoto
Tomohiko Amamiya ... Children
Yuika Bandai ... Children
Seiya Mori ... Children
Takuya Utsumi ... Children
Naoto Adachi ... Children
Takateru Yashiro ... Children
Noriko Shibagaki
Kaoru Kitada
Miuka Ono
Mariko Matsumoto
Natsuki Yoshino
Megumi Shôji
Sanae Morita
Chikako Arai
Nao Takai
Mio Sakurai
Chika Tajima
Miri Nanazono
Yaya Akiyoshi
Emiko Sora
Risa Tsuyusaki
Nao Nagasawa
Yume Otomiya
Ayumi Seki
Saori Tomita
Tomoko Chiba
Akane Noji
Kazuyuki Kitaki ... Police Personnels
Taiju Okayasu ... Police Personnels
Midori Shin'e ... Police Personnels
Erika Tajima ... Police Personnels
Chika Kumagai ... Dessert
Saon Fujita ... Dessert
Tomoe Adachi ... Dessert
Miyu Sawada ... Dessert
Kazumi Sekine ... Dessert
Mitsuru Kuramoto ... Oden Stand Owner
Yûna Natsuo ... Girl By the Stove
Toshiyuki Kitami ... Shinagawa
Kenjirô Tsuda ... Mita
Kimiko Yo ... Kiyomi Kuroda
Hideo Sako ... Detective Hagitani
Akaji Maro ... Detective Murata
rest of cast listed alphabetically:
Kyoko Baba ... H.S. Girl on the Roof
Hiromi Eguchi ... H.S. Girl on the Roof
Rina Hashiba ... H.S. Girl on the Roof
Kanako Hiramatsu ... Mother Slicing Vegetables
Miki Isa ... Girl With Sign
Mikiko Isa ... Girl With Sign
Himeno Maeda ... Boy
Toyotomi Maeda ... Girl

Directed by
Shion Sono 
 
Writing credits
(in alphabetical order)
Shion Sono  written by

Produced by
Seiya Kawamata .... producer
Atsushi Numata .... executive producer
Junichi Tanaka .... producer (as Jun'ichi Tanaka)
Toshiie Tomida .... producer
Toyoyuki Yokohama .... executive producer
Seiji Yoshida .... producer
 
Original Music by
Tomoki Hasegawa 
 
Cinematography by
Kazuto Sato  (as Kazuto Satô)
 
Film Editing by
Masahiro Ônaga 
 
Casting by
Mamoru Ito 
 
Production Design by
Yoshihiro Nishimura 
 
Art Direction by
Yoshihiro Nishimura 
 
Makeup Department
Yoshihiro Nishimura .... special makeup effects artist
 
Sound Department
Masami Nishioka .... sound recordist
 
Special Effects by
Yoshihiro Nishimura .... moldmaker
 

Production CompaniesDistributorsSpecial Effects

Additional Details

Also Known As:
"Jisatsu sâkuru" - Japan (original title)
"Suicide Circle" - International (English title) (literal title), Japan (English title) (poster title)
See more »
MPAA:
Rated R for disturbing thematic elements, strong violence/grisly images and some language
Runtime:
99 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

Trivia:
The Bat's computer is a black Apple Macintosh PowerPC 5500/225. This model was already discontinued in 1998.See more »
Goofs:
Crew or equipment visible: When the students jump to their death on the school roof, you can clearly see crew-members throwing buckets of fake blood at the window.See more »
Quotes:
Medical Examiner:There are several bodies here. We'll pry them apart later.See more »
Movie Connections:
Soundtrack:
Raito wansuSee more »

FAQ

What are the differences between the R-Rated version and the Unrated Version?
See more »
153 out of 178 people found the following review useful.
One of the best films of the 2000s, 18 March 2005
Author: Brandt Sponseller from New York City

A suicide epidemic is sweeping Japan, even among hordes of teenaged girls who are making pacts with each other and offing themselves together. As Detective Kuroda (Ryo Ishibashi) and crew investigate, they begin to suspect that maybe there's more to it than simple suicide.

In terms of sheer spectacle, surrealism and the impact of its scenes, Suicide Club is simply an amazing, groundbreaking film. As for "what it really means" (assuming we could even agree on how that could be determined), it is wide open for interpretation. Everyone is likely to have their own, and not a few will probably insist that their interpretation is the "right" one. I don't think mine is the "right" one--I don't even agree that there would be a "right" interpretation. But at any rate, my current take on the film is that it is an extremely twisted, broad-ranging exegesis on many facets of Japanese culture (and to an extent, it can be applied to other cultures, as well) that is issuing sharp criticism at the same time that it is showing reason for hope.

Suicide Club is a very dense film. By that I mean that it is packed full of meaning, symbolism, references and such. An analysis of each scene would be interesting and informative, but it would take far more than 1000 words (the space IMDb allows). At the same time that much of it may be intentionally cryptic, designed to open up the interpretational field, I think that much of the film is more transparent than its often David Lynch-like surrealism would suggest.

For example, in the late 20th/Early 21st Century, and especially in 2001, the year before Suicide Club was released, a big news story in Japan (and elsewhere, including BBC and CNN reports) was their relatively high suicide rate. 33,000 Japanese had killed themselves in 2000. The Japanese government's Ministry of Health developed a special program to combat the phenomenon. At the same time, there is a cultural history of suicide being "honorable" in Japan, at least in some contexts, yet contradictorily, suicide has also been looked at as strongly taboo by the Japanese, as something not even to be talked about. Japan is also a culture where a more cyclical view of time and nature is common. The major Japanese religions are Buddhism and Shinto. Many species of Buddhism accept reincarnation, and Shinto has a potential "life after death" as kami. In the midst of all of this, The Perfect Suicide Manual by Wataru Tsurumi was on Japanese bestseller lists for years in the late 1990s. So suicide is certainly a complex, pressing issue in Japan.

Writer/director Shion Sono offers his own thesis for the root of the problem, on the way providing a strong cultural critique of Japan (and by conceptual association, similar cultures in other industrialized nations). The criticism is perhaps surprisingly conservative in light of the graphic bloodiness of the film's images, but we could see Suicide Club's brutality as partially an embrace of reality versus sweeping the truth under the rug, and partially a Natural Born Killers (1994)-styled self-indictment of the media age's contributions to the problem.

A major theme is "disconnect". Many are wrapped up in their work, in gadgetry and other pursuits so that they lose their connections to their families and even themselves as authentic human beings. It is significant that Sono shows many suicide victims with interlocked hands, achieving a kind of emotional/spiritual/"kamic" unity before taking the plunge. Another corrupt attempt at achieving the missing connection is realized in long strands of human skin that are bound together and found near some suicide victims. Kuroda, who is investigating the epidemic, is relatively disconnected from his immediate family. They need help, but he only notices when it's too late.

Pop culture is initially portrayed as shallow or decadent. Near the beginning of the film, the young girl pop group has a big hit with a vacuous song about e-mailing or calling them. (Did I hear someone mention "Kim Possible" (2002)?) The name of the group is alternatively written in English (via posters, video and the subtitles) as "Dessert" (sweet and appealing, but bad for you if overindulged and consisting of "empty" nutrition), "Desert" (a seemingly barren wasteland, or an abandoning) or "Dessart" ("Dessert" + "Art"). Near the middle of the film, A Ziggy Stardust-styled glam-punk is shown depravedly indulging in sex and violence--an even more extreme version of Malcolm McDowell's Alexander de Large from A Clockwork Orange (1971). Later he becomes a self-styled Charles Mansion-ish celebrity, and he is blamed for having a connection to the suicides, in a typical media/pop culture scapegoating. At one point, the suicides evolve from their initial spirit of a unifying pact to a fad to be indiscriminately mimicked, whether one does it alone or not. It seems that in such an environment, even suicide is not immune from corruption.

The film only begins to reach a resolution once characters are lectured on their unwitting alienation/inauthenticity/dissociation from their core values. Children, either as perceptive innocents or wise reincarnates are the primary instruments of this reeducation. Even "Desert" contributes, as they sing a song about piecing together jigsaw puzzles. Later, when they decide to literally desert their pop stardom, they do so with a farewell song that's no longer shallow, but full of poignancy and hope. (By the way, all of the music in the film is excellent--I would love to see a CD soundtrack released.) This is a rare film that might be difficult to enjoy without a taste for this kind of deeper analysis, but there are plenty of visceral and surreal delights for horror fans. Those with weaker constitutions may have difficulty stomaching this material, but Suicide Club is an absolutely brilliant film--all of the technical and artistic aspects are exemplary. This is one of the best films of the 2000s.

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Would you call this a horror film? westing000
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its disgusting Naooly
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