Two young guys work in a plant that manufactures oshibori (those moist hand-towels found in some Japanese restaurants). Their weird bond is based on uncontrollable rage--something neither ... See full summary »
A detective investigates a series of murders. A possible serial killer might be on a rampage, since they all are in the same vicinity and by the same method, but as the evidence points ... See full summary »
A seasoned detective is called in to rescue a politician held hostage by a lunatic. In a brief moment of uncertainty, he misses the chance for action. Leaving his job and family without ... See full summary »
Takakura is a former detective. He receives a request from his ex-colleague, Nogami, to examine a missing family case that occurred 6 years earlier. Takakura follows Saki's memory. She is ... See full summary »
A psychic housewife and her husband become burdened with a kidnapped girl who escaped her assailant. Junko will not let her husband call the hospital or the police for purely selfish ... See full summary »
Reiko, a prize-winning writer, moves to a quiet isolated house to finish up her new novel. One night she sees the man next door transporting an object wrapped in cloth. She finds out he is ... See full summary »
A wave of gruesome murders is sweeping Tokyo. The only connection is a bloody X carved into the neck of each of the victims. In each case, the murderer is found near the victim and remembers nothing of the crime. Detective Takabe and psychologist Sakuma are called in to figure out the connection, but their investigation goes nowhere. An odd young man is arrested near the scene of the latest murder, who has a strange effect on everyone who comes into contact with him. Detective Takabe starts a series of interrogations to determine the man's connection with the killings.Written by
Todd K. Bowman <email@example.com>
Martin Scorsese said Cure was Kurosawa's "most terrifying movie." See more »
In Japan, they drive on the left side of the road and the steering wheel is on the right side of the car. In every scene in this picture that's the case - except one. When the detective leaves in his car to go to the hospital because Mimiya has turned up there, the steering wheel is on the left and he drives on the right side of the road. See more »
There are no opening credits, with the exception of the movie's title. See more »
An enigmatic hypnotic and disturbing meditation on self control and the fear of losing it
It's not easy to give yourself over to this film, for like the unwilling victims' it portrays, it rather slowly and methodically casts its spell, whisking you farther and farther away from the comfortable rhythm and conventions of the crime thriller it appears to be on the surface.
Kyua's austere landscapes are in fitful turns picture postcard beautiful, mundane and mysterious. Much of the story unfolds in master shots, keeping you at a distance from the characters and affording the illusion of a comfortable intellectual detachment which it meticulously strips away scene by scene.
The plot is deceptively simple; a weary Japanese Homicide detective is investigating a series of grotesque murders. Each murder seems to have the same ritualistic pattern, yet in each case the culprit turns out to be an ordinary individual, dazed and unable to offer any motive for their horrific crime. Nothing seems to connect the murderers to each other, until the Detective picks up the trail of an amnesia afflicted drifter who seems unable to answer even the simplest questions about himself, yet displays a disconcerting ability to reflect any line of questioning about his own identity back upon the questioner. Time and again he returns to a question at the core of the mystery:
"Who are you?"
It seems more and more, as the drifter is passed from detective, to guard, to clinician to pyschiatrist, that this question is far more dangerous than anyone might have guessed.
Kyua is a model of subtlety and restraint. Although there's a significant amount of implied violence and several shocking scenes of murder, these aren't gratuitous. Kyua's particular genius is it's ability to transform it's urban Japanese landscapes and even the most common objects from familiar to suspect and eventually sinister: a length of piping, a flashing traffic sign, a blast furnace, the sound of ocean surf at night, a flickering lighter, a dark apartment lined with academic tomes, a puddle of spilled water, the letter X smeared on a wall, a deserted rundown building.
There are few filmmakers with the audacity and imagination to venture into the places Kyua wants to take you. Fincher, Lynch and Cronenberg come to mind as those who time and time again have shown their willingness, and perhaps compulsion to return to the unsettling territory of perception, identity, and the boundary between normalcy and psychosis. If the director's first name were only David (it's not, his name is Kiyoshi Kurosawa) we'd have the makings of a good conspiracy theory here.
The film was released in 1997 but only recently has made it's way to western shores, and US distribution by Cowboy Pictures, and has wound its way inevitably to cable networks like Sundance. It's cast includes Koji Yakusho as the detective Takabe. Fans of Japanese cinema will recognize this fine actor from his award winning roles in "Shall we Dance" and "The eel".
Kyua isn't the type of visceral immediate drama that the average suspense film provides. If you can put aside your preconceived notions and allow it to unfold in it's own time, I suspect you will find the questions it asks and secrets it reveals to be all the more disquieting, problematic and in the end profound. Many critics have lined up to call this film a masterpiece, and pegged Kurosawa as one of a number of japanese directors worth watching.
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