Reviews

NB : Unfortunately, I can't add Kanji to my review.

"Satsu satsu (ayame)" aka "Suicide Dolls".

The film is made up of four distinct segments, having the common theme of suicide. Each of the first three segments focuses on a female character led (or who wants and chooses?) to commit suicide in front of the observing eye of the motionless camera. The spectator is therefore a sort of clandestine witness. The final segment is technically very different, and features dolls primarily animated in stop motion. I don't want to spoil everything, but I need to say that the last segment is different from the others because it is the character of an actress who commits harakiri, and not a "normal" character. I will come back to that.

Tamakichi Anaru is one of the most fascinating directors, and I would love to be able to watch a real interview with him one day (I only ever saw him in the documentary Making of Suicide dolls, and he was very busy, even though he answers a few questions from Shino Setsuna). If we count, out of 7 segments, in 3 films, he still produced 5 segments depicting just a woman committing suicide each time. This is obviously not a coincidence, and there are so many possible reasons behind this choice.

To put it in context, he first made "consensual" adult films (AV), before producing the 3 films that we know well, for a more atypical collection from Aroma. 3 pornographic horror films, belonging to the snuff movie genre (Trumbling Doll of Flesh, Women's Flesh my Red Guts, and Suicide Dolls). If Suicide Dolls is sold exactly like the previous 2, I think it's really different, and doesn't have the same fetishistic aspect. Anaru himself said during filming that he was no longer a porn director (which is perhaps not to be taken literally, but hey...).

In short, Suicide Dolls contains all the dark and melancholy discourse of Women's Flesh my Red Guts, but with less of the erotic, greedy, sensual aspect. It's a drier film, with more important dialogue than the previous ones, and a less experimental aspect (if we exclude the segment with the dolls).

It's a very sincere film in the way it depicts suicide. There is an omnipresent effect of reality, and something is really palpable (is it death? Solitude?). Tamakichi Anaru wrote the script and the story board, and I find that the dialogues are all excellent, full of meaning. In this film, and in Women's Flesh (released the same year) life in Japan is seen as something bleak, and society is a kind of steamroller that crushes (mainly) women. Why did Anaru choose women? There are a thousand possible reasons, I'm not going to detail my ideas, it will be endless.

Let me mention the 3rd segment (story): "Kyôen" (can't use hiragana, sorry). According to my research (to be taken with caution) the word means something like "co-starring", and is composed of the kanji (I'm not allow to add it) which means "performance" , "act", "stage", and the kanji (same) which means "together, both, neither, all, and, alike, with"... The segment presents an (AV?) actress who discusses her thoughts about death, with a director. The actress is going to commit suicide for real, and he plans to film it. We therefore see the behind the scene of the film of this Harakiri suicide. Anaru plays the director, and Kikurin (seen in TDOF) also plays. The main role, the role of the actress, is played by Shino Setsuna who is a key person in Anaru's career, since she helped him in his 3 "horror" films as a makeup artist. In this last film, she is also an actress. (I also wish someone had done an interview with her. I'll talk more about her and Anaru in my review of the Making of Suicide Dolls.) So we have an actress whose final performance is suicide. It made me think a little of the writer Yukio Mishima.

Well, to give a slightly more concise opinion on the film itself, I will say that the special effects (although some did not work as Anaru wanted) were, as always, sensational. The actors and actresses acted really naturally. There really is the Anaru/Setsuna touch. It's a film that is meaningful to me, and I think it is very accurate in the way it depicts the deepest loss (of oneself, of the world).

So, it's a thought-provoking film, but is it still entertaining? Yes, it is.

I think it's Anaru's least accessible work to understand. So I recommend watching Women's Flesh my Red Guts first, then TDOF, finaly this one.

Red Room invites people to participate in a game to win money : the "King's game". It is not excluded that this film could have influenced quite a few elements of popular culture of the 21st century. I don't want to draw any conclusions, especially since it was very underground when it came out (it still is, to a certain extent), but the similarities are sometimes surprising. If you look you might see what I mean. I think at least that it was able to contribute to the myth of the Red Rooms, as certain films contributed to that of the Snuff movies.

It's a film that I really like, without being my favorite of Daisuke Yamanouchi. I'm actually a big fan of this director, he's one of my favorite Japanese directors and even one of my favorite directors in general.

What do I like about Red Room?

First, the story: it has many twists and turns, the dialogues are very well done: the film is a psychological thriller in addition to being a splatter and torture-porn. Without being ultra-gory or extremely graphic, or even ultra-violent (one of the least brutal films of Daisuke Yamanouchi in my opinion) it still contains cruel, perverse scenes, which explore the pain of the characters in a captivating way. And there are some original things that I don't want to reveal!

I would say that another quality of the film is its accessibility: there is nothing experimental, we are in a more traditional work, with participants who compete to survive, around a card game.

I wanted everyone to survive, but as you can imagine, there were deaths. The ending was successful in my opinion.

There are quite a few other things to say, but my memories stop there and the essential is said.

If you want to discover some extreme Japanese cinema, give it a chance!

The film remains cool for those who already like Valentine's style, but, I don't know, maybe I was in a less good mood.

This time there is the addition of self-harm to the fetish elements already present in the previous films. Nothing bad, just small cuts (resulting in a few drops of blood), and NAZI symbols. Because the film takes place on a Christmas Eve (apparently) with an evil NAZI. It is supposed to give extra meaning to the trilogy. In truth, I didn't really understand where the scenario was going, but that's okay. It's the most psychedelic of VomitGore, with an editing that makes very rapid cuts. The images of Lucifer Valentine are mixed with those from archives, particularly cartoons. I understand the idea, but I won't say it was amazing. I don't know if I was a little jaded by the formula that we already know well. There was also a curiously long disclaimer at the beginning (too long).

I recommend for die-hard fans, but for the curious and others, I stick with ReGOREgitated and Slow-Torture Puke Chamber. Afterwards, I must say that the film strictly corresponds to its title.

Lucifer Valentine's horror films are very generous in what they offer. Personally, I really think that the people involved in his films had a lot of fun (this is just my feeling, I have no information), that everyone enjoyed performing and building this universe.

So, what's on the agenda for the day? A direct sequel to the previous entry, with a darker and more desperate tone, but even more uninhibited and fun fantasies and gore! I insist, for me there are two sides to this film: the dark and desperate story of the characters, with Angela's self-destructive spiral - which is quite sad, we can identify in a certain way -, and the joy of "projecting" all kinds of "things" on the screen.

So, we have new naughty fantasies such as urophilia... There is a notable scene from that. If the film is rather (erotic)-pornographic in its first part, the gore comes in force in the second half. As usual, I don't want to spoil it, but know that it involves a pregnant woman, and I can say it makes for one hell of a scene! In the genre, it's a scene that pushes things to the max : it's very creative.

Generally speaking, I had a harder time following the story because it's the most psychedelic film in the trilogy (that wasn't a problem).

Like ReGOREgitated Sacrifice, it's a film that I really liked.

ReGOREgitated Sacrifice; I really like this title. It must be said that, for me, this is the film that really established the standards of the VomitGore genre. It offers a lot of pukes, and a lot of gore, but not only that.

In 1 hour, I enjoyed discovering perverse scenes, an intriguing psychedelic story, and fantasy moments, with a lot of bodily fluids.

The camera is quite unique in Lucifer Valentine's films: it's a kind of little voyeuristic being that gallops towards the scenes that attract it.

I liked the characters, some are a little repulsive or horny. The gore is awesome. To tell the truth, I would have liked there to be even more, but fortunately there is the sequel. There are some surprises that I don't want to reveal, but one scene combines vomit, gore and [...]. I won't spoil it, but it's not something you see every day, and I appreciated it.

It's the second in the trilogy, but I highly recommend starting with this one (even if it means consulting a summary of the events that occurred in the first).

Flesh of the Void offers us to "experience" our death. More precisely, the after. Like a wandering soul, the camera takes the viewer into an apocalyptic, phantasmagorical vision, yet so close to our world. I loved immersing myself in this melancholy universe, filled with bitterness and suffering, but also enjoyment (suffering = enjoyment = suffering, and so on). I remember some fascinating paintings. It's really a diorama, and navigation is done in a natural, immersive way.

From a technical point of view, the use of altered 8MM film was able to transform typical landscapes into hellish visions. I find that black and white is particularly interesting for the afterlife. You will meet original characters, you will wonder what their story can be... There are almost creatures too (sometimes we no longer know exactly what we are observing thanks to the dominant grain). Lots of possibilities for interpretation, including concerning the religious beings who wander around.

I highly recommend it, and I think it's a good gateway to discovering experimental/underground cinema.

Yet another film with images of dead people? Yes, but this one makes efforts to differentiate itself and embraces its disrespectful, schoolboy, voyeuristic, and entertaining side.

Firstly, I liked the fact that this "documentary" was written (even if it was at a minimum). We have a main character, Dr. Van Gore, played by an actor, a voice which tells us the events, transitions which seem to come out of Carmageddon, and various more or less false information. At least they're not just stolen videos put together.

Secondly, the thing is intended to be a bit satirical. They wrote jokes, clashes, etc.

Finally, the shocking dimension of this footage lies as much in its complete disrespect for the victims (through "shocking sentences"), as in the images which are divided into segments (depending on the drama). Having a questionable sense of humor, I laughed at one or two passages, as the discrepancy between the images and the cheerful tone of voice made the whole thing absurd (especially the famous "two for the price of one" scene). Life is absurd with Faces of Gore, and so is death.

So yeah, it's reprehensible, maybe stupid, but it's not malicious in my opinion, rather nice (in the sense of innocent). There are a lot of shocking images, clichés, disrespect, in short: it was still quite original in idea, I really liked confronting this "gore" of human life.

I might just be a good student of "Gorenology".

Flower of Flesh and Blood, written and directed by mangaka Hideshi Hino, really gave a boost to the popularity of the Snuff movie genre, and particularly in the way of structuring the story, the direction and the abuse. It even contributed to the myth itself.

In short, it's a great horror film and a technical feat given its time and budget.

It remains a solid client for those who want to experience a form of voyeurism, or discover a found-footage that really seems to come from the lair of some kind of scary Japanese samurai murderer.

Gore plays a central role in the film. It's very impressive, and quite melancholic too (as is often the case with Hideshi Hino). It's not childish or gratuitous violence, I could say that the violence in this work transmits impressions, emotions. We feel the suffering of the victim (she looks sad, resigned), we are shown the executioner in an interesting light, etc... I really like this film, even if it may seem quite classic today, it retains a profound singularity, a unique atmosphere.

The song of the man in the mask might haunt you for a while.

With Mermaid in a Manhole, mangaka Hideshi Hino has made his second film in the Guinea Pig saga. The story is simple and brilliant: a painter discovers a mermaid in the sewers. We have a film that oscillates between the Fantastic genre (in the French sense) and something more magical, like a fairy tale. I have to say that the simple fact that there is a mermaid in this film is already great, but her magnificent costume, the quality of the makeup, the work of color captivated me. Despite the place of the supernatural, the film treats the question of the mermaid realistically (what encountering such a creature entails). It's true a mermaid in our world... discovered by a Japanese painter! The story is beautiful and melancholic, it speaks of suffering, art, fear, envy. Yes, there is gore - it's a true Guinea Pig - and in a rather unique way: the grotesque and the disgust meet the sublime.

There is obviously a certain metaphysical dimension in the appearance of the creature in the film, the relationship of this painter to the world, etc... Each spectator will see what they want.

The relationship between this man and the mermaid is overwhelming, body horror and the destruction of beings are themes explored in depth in the work.

For all these reasons, and many others, Mermaid in a Manhole is a gem.

Tsurisaki Kiyotaka is a photographer who also makes films. Junk Films is one of his three non-fiction works (3 documentaries).

Junk Films is a unique assortment of very heterogeneous short films with the common theme of death, and the cultural relationship between humans and it. The short films were filmed in different locations around the world. We see in particular scenes of intervention with people who died following road accidents (the shocking side of the photo/video of death which "leaves no room for the imagination"), images of suicide, funeral and local/traditional celebration... It is a journey with death, with it. There is nothing sensationalist, everything is as is, without artifice. We can almost touch death with these films, it is closer to us than ever, in our daily lives. In this sense, Junk Films follows the idea of putting the viewer face to face with their fears, facing the unknown, but also - and this is essential - to enrich themselves through other cultures.

It's graphic, almost surreal, and yet it's real. I think it's an artistic work too, through the editing, the choice of images. There are almost dreamlike passages (I think of the almost mummified room, covered in dust). The climax is the traditional Japanese funeral ceremony, very cold according to some, I tend to agree (I don't judge people, just what I see, and the way I see it). A Japanese spectator mentioned the death of "David", mentioned elsewhere by IMDB. I don't remember if his name is in the film (I wonder if it's the man hanged in his home, or the deceased from the Japanese funeral ceremony). It seems that he was a friend of the director, I'm not sure, but it remains interesting information to consider the work.

Difficult to give my feelings, it is a complex work which will resonate in varied ways with each spectator. I can't say that I liked it, that would be simplistic and ridiculous. I will say that it interested me, that I was touched and that Tsurisaki Kiyotaka did remarkable work, never seen before. I still remember well the injuries/wounds on the bodies. The sadness that violence causes.

I wanted to offer a brief opinion, but I think some people will be happy to have a little contextualization. And then, it's a film that doesn't leave you indifferent, there's a lot to say. The absence of commentary has a lot to do with it, the images speak and the dead are silent. It may be a celebration of life (thanks to death, to our deaths), I don't konw.

One thing is certain, with Junk Films I was able to approach death, watch it, respect it, respect the victims, and that's already a lot.

Two segments, two snuff movies with the same actress who self-harms. Cruelty and loneliness are at the heart of Women's Flesh my Red Guts, and also appetite. The film is melancholy, touching and the makeup is exceptional: it's ultra-graphic and refined/sober at the same time. Tamakichi Anaru is the director with the most realistic approach in my opinion. Realism is subjective, so I will say that my realism and his match up best. This woman's self-mutilation had to be realistic to convey emotions. There is obviously a certain sensuality too.

When the loneliness is too great, the suffering of the mind too great, is the body the last defense? Is it strong enough?

One of my favorite films.

Like almost all (horror) films, Snuff 102 requires a minimum of open-mindedness, and above all trying to understand what it is: like what is this work? (this is a clichéd remark, but I insist and I will explain).

In my opinion, snuff 102 is first and foremost an excellent survival movie. We follow characters involved in bizarre events, we see them suffer, look for solutions to escape, communicate, etc. There are some ultra-thrilling scenes and I love survival! Especially when survival appears realistic within the ecosystem of the film.

So: 1st point: a great survival.

Then, Snuff 102 is a very gripping snuff movie, with a careful, glossy atmosphere, AND it is a formally very original film, on the border between reality and fiction.

Mariano Peralta wrote and directed a work that mixes genres: we follow a journalist, the film is like a documentary of her work. There are videos of real violence, real-fake snuff passages created by the director, and flashbacks to the daily lives of the tortured characters. I really try not to spoil anything, so it's not easy to tell the story. The mix is perfect, it really feels like it's a real doc and a real snuff (both at the same time). The structure is therefore quite complex, even if the narration is very refined.

So: 2nd: an extraordinary found-footage.

Finally, there are the directing choices: Mariano Peralta did not want to make a classic torture-porn (a genre that I really like). Above all, he wanted to cover important subjects with his film, to make himself think and make the viewer think. This film is from 2007, and poses very interesting questions about our relationships with image, bodies, violence, private life, etc. Far from being a film that wants to shock or delight in violence (and there are plenty of them that are cool), we are almost faced with a social chronicle approach (which requires fans of splatters to move on, the goal is not to push the limits of gore). It also shows a very critical view of society (and many other things), while letting the viewer form their own opinion about the events (there is no over-commenting on what we are told ; just food for thought). In short, it is this accumulation of elements which makes it so striking, which blurs the boundaries between myth and reality. Snuff 102 is therefore astonishing, glib, sticky, intelligent and the young director has produced a committed film with mature writing. The two main characters are brilliantly written.

I would add that the actors are great (the pregnant woman was actually pregnant: everyone was very involved) and you never feel a lack of budget.

So, 3rd: rich content that will work with you long after, if you accept the journey

Needless to say, I love the ending, perfectly in keeping with the spirit of the film.

Here are my impressions of this remarkable first film. We have excellent entertainment and a great horror film (which offers its share of strong sensations and cold scenes - one of the true extremes movies), which also allows itself to be exciting. I've seen it 3 or 4 times, it's a sure/solide thing!

GUN WOMAN is awesome in every way. Despite the low budget, the realization is remarkable, as are the special effects. There are many scenes (often action or very gory) that are absolutely epic. The actors are very good, both in the action and dialogue scenes. ASAMI is great in his role. You can see the movie just for that reason! Finally, the script has some unexpected twists and turns that make you want to see it all again. There is also a real work on the details, especially those related to suffering. The atmosphere and events in the film are meant to be realistic and disturbing. It works!

It's a pity that this movie is not more known, it's original and extremely entertaining. Splatter fan, go and see it!