In dreamlike mountain scenery, Toshiko makes a daring escape from her sexually warped Uncle Sonezaki. Fortunately, she met Samehada as she runs for her life, which is also escaping from ... See full summary »
Pinocchio 964, lobotomised cyborg sex slave, is thrown out onto the street by his owners because of his inability to maintain an erection. He is befriended by a criminally insane, ... See full summary »
A spell of time in the life of a family living in rural Tochigi prefecture, north of Tokyo. Though her husband is busy working at an office, Yoshiko is not an ordinary housewife, instead ... See full summary »
The kappa, in Japanese folklore, are water goblins that are closely associated with a certain town in the country. Unfortunately, the area is also home to a militant splinter group of ... See full summary »
Daniel Aguilar Gutiérrez,
Losing his son Tom in a hit and run triggers violent emotions in Anthony, whose body begins to transform. When the driver who killed Tom reappears, Anthony mutates into a mass of metal - a human weapon fuelled by an uncontrollable rage.
A salesman named Kosuke Okuda happens to meet Mao Watarai,a friend from his middle school days. Back then, Mao was bullied, but now she is an attractive woman. Kosuke and Mao fall in love and decide to marry, but Mao has a secret.
Kenji, abandoned by his mother, scrapes out a meager existence doing odd jobs including driving bar hostesses and their customers home. Besides this he takes care of the sister of an old ... See full summary »
Suzume Katagura is a bored housewife who spends her days doing chores and taking care of her husband's pet turtle. One day she sees a wanted ad for spies. Hoping for some excitement she decides to give them a call.
Of all the countries whose films I've seen (see my comment history) I've gotta say only the Japanese seem to be able to create art without seeming pretentious and stuffy. I think it comes from their great cultural tradition of humility, subtlety and, perhaps most importantly, a wacky sense of humour. Here we have a film that explores the most profound philosophical ideas an artist can ever encounter; yet it doesn't come across all dry, heavy and ponderous, the way a Kieslowski film would. And for the record, Kielsowski is one of my favourites.
Where is it written that all cerebral films have to be humourless dramas? And where is it written that all comedies must completely vapid and devoid of philosophy? KOI NO MON is the perfect example of how to get it all in one very entertaining package. Don't let the hilarious opening scene throw you off track; there's a lot more beneath the surface of this insanely goofy flick.
As I said earlier, this film jumps into the fundamental conundrum of all artists (including writers, musicians and chefs also): What do you do when no one understands your art? How do you present a truly revolutionary concept when everyone laughs at you? And in the resulting vacuum, how do you deal with your loneliness and isolation? Heavy stuff. Tarkovsky would have us crying in our beer. But leave it to the Japanese to present the idea every bit as profoundly but in a crazy romantic comedy.
Much like my other favourite underrated Japanese films (University of Laughs, Cutie Honey, Summer Time Machine Blues) this film can be enjoyed by philosophers as well as people just looking to be entertained. It's the ultimate answer to the question "How do you present a truly revolutionary concept when everyone laughs at you?" The answer is: laugh with them. Coat it in comedy, and they'll swallow anything and like it. I sure did.
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