CAPSULE: VAMPIRE CLAY (2017)

Chi o sû nendo

DIRECTED BY: Sôichi Umezawa

FEATURING: , Shinoda Ryo, Tsuda Kanji

PLOT: Students in a rural Japanese clay workshop accidentally awaken a possessed being crafted by a failed sculptor who died under mysterious circumstances.

Still from Vampire Clay (2018)

WHY IT WON’T MAKE THE LIST: Sôichi Umezawa gets a tip of the 366 Weird Hat for his creative directorial debut, but its Cronenberg-in-clay trappings are firmly in the realm of a (somewhat) standard scary movie.

COMMENTS: “Understated” and “body-horror” rarely sit side-by-side as descriptors, but Sôichi Umezawa pulls off this fairly impressive parlor trick with aplomb in his directorial debut. Primarily known for his make-up effects (and best known to us for his work on The ABCs of Death 2), Umezawa spins us a yarn set in an unlikely place (a rural clay-sculpting academy) about an unlikely antagonist (a creepy-cute blood golem thing). The action, such as it is, fits into that Horror Genre Standard Time of under ninety minutes. The result? A fairly memorable outing that won’t burn your entire evening.

Sensei Yuri Aina (Kurosawa Asuka) runs a very small school for aspiring sculptors somewhere in not-Tokyo, Japan. When she is forced to set up shop in an abandoned painter’s studio after finding her own workshop damaged by an earthquake, she unearths a bag of dried powder while digging in the studio’s garden. Thinking nothing of it, she places it in her school. Young up-and-comer Kaori (Shinoda Ryo), fresh from a stint at art school in totally-Tokyo, Japan, is one of Aina’s pupils. Kaori’s bucket of clay is used by another student, which prompts Kaori to re-hydrate the powdery remnants that Aina had put aside. Life returns to the cursed clay at the first spritz of water, and soon the students fall prey to a malevolent, inhuman force.

All told, there are just eight characters in this melodrama about rejection, competition, and the evils of industrial waste. The back-story of the evil clay beast is sufficiently over-the-top without slipping into giggle territory; I actually found myself rather moved by the tale of the failed sculptor who literally put his lifeblood into “Kakame”, the smiling vampire golem. The attacks on the students (who comprise five of the film’s eight characters) are all clever—think Cronenberg in high school art class. I imagine creativity and patience were Umezawa’s watchwords, as the budget for this movie must have been on the very low side. In one particularly unsettling bit, Kaori’s chief rival gets enveloped by the clay monster and tries to communicate to the other students the next day from within a sculpture. (I was reminded of the creepy short, Alma.) Other bits of violence—both gruesome and creative—are found throughout. The end veers heavily into the “Apocalypse-as-Revenge” genre, in perhaps a personal attack by the director on those who may have doubted his talents in the past.

Now that Sôichi Umezawa has proven he can maintain a feature-length narrative as well as scare his audience, I’m hopeful he’ll move on to some more challenging material. Vampire Clay takes you on a quick journey into one of the few remaining unexplored corners of the Gotta-Have-Blood monster genre while laying the ground-work for what will hopefully be a fuller career in weirdo-creepy motion pictures.

WHAT THE CRITICS SAY:

“The notion of Vampire Clay is a fun thought experiment, and Umezawa seems to intend it that way, too, embracing both the utter ridiculousness of sentient hunks of plasticine and its endless creative applications…  the film has a better chance taking root in the imagination than in theaters, because the idea of vampire clay is so much more potent than actually watching it in action. Nothing this absurd should be this boring.”–Scott Tobias, Variety

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