Tag Archives: Animation

CHANNEL 366: JUNJO ITO MANIAC: JAPANESE TALES OF THE MACABRE (2023)

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DIRECTED BY: Uncredited

FEATURING:  Bill Milsap (English dub)

PLOT: Twenty short, dreamlike horror stories from manga artist Junjo Ito, spread out over twelve episodes.

Still from junjo ito maniac japanese tales of the macabre (The Hanging Balloons)

COMMENTS: A woman’s sneering face appears in a monsoon of psychedelic mandalas, singing along to the raucous theme song as various scars and deformities flicker across her visage. A nail-chewing boy in a yellow raincoat climbs out of an abandoned refrigerator and into the vertical-hold challenged stories playing on a TV set across the alley.

Those are the opening and closing sequences of “Junjo Ito Maniac,” and they set a maniacal tone that the content they bookend rarely matches. Not that the actual stories lack for deranged imagination; any anthology containing the tale of an angelic blond salesman in a bow tie who peddles mounds of deadly, addictive ice cream to children isn’t short on creepy inventiveness. But there are two basic problems with the series. One is the animation itself, which, despite the rambunctious promise of the opening and closing numbers, often isn’t really animated. It’s usually a succession of stills where only the characters’ mouths move. Ito’s images are often eerily beautiful, but the series comes off as too cheaply produced to do them justice. The other issue is that the majority of the stories, some of which run for just over five minutes, are often inconclusive, feeling like simple statements of surreal premises rather than fleshed-out horrors. Their brevity does, perhaps, makes them more dreamlike; their economy means they tend to serve best as bedtime snacks to fuel snippets of nightmares.

The biggest exception is the one must-see episode in this collection, “Layers of Terror.” At a mere fifteen minutes, this twisted psychological parable about a mother who longs to return her child to a state of infantile dependency delivers its meaty anti-moral through a grotesquely literal (and bizarrely impossible) metaphor. Other highlights include “The Hanging Balloon,” about an unlikely apocalyptic plague of floating heads with nooses attached, and “Tomb Town,” a story that starts promisingly with a trip to a neighborhood completely overrun by tombstones. The series assays an effective variety of horror moods, from the prominent surreal horror to stories evoking the spirits of (“Library Vision”) and Charles Addams (“The Strange Hikizuri Siblings”) to ironically cruel fables (“The Bully”). Even though few of the entries are solid hits, the  diversity of textures coupled with the ultra-short format makes “Maniac” an assortment of poison bon-bons worth sharing with your best friend… or enemy.

As a bonus, the conclusion of each episode includes a few short spoken sentences of a continuing story about a man driven mad by bugs that seem to be… well, you can find out for yourself. Aside from that perk, the episodes can be watched in any order, or selectively skipped.

Junjo Ito is perhaps best known to readers here as the original author of the killer-spiral horror story adapted into the live action feature Uzumaki (2000). He’s a prolific manga storyteller in Japan, alternating between short story collections like these, longer works like “Uzumaki,” and collections featuring recurring characters (including the bewitching Tomei, who appears in one story here, and impish nail-chewing teen Soichi, who appears twice in “Maniac” and also anchors the closing segment.) “Junjo Ito: Japanese Tales of the Macabre” was created by Studi Deen, who had released a previous collection of Ito shorts in Japan, in collaboration with Netflix, who owns exclusive streaming rights.

WHAT THE CRITICS SAY:

“It’s humorous, terrifying, weird, beautiful, and disturbing all at once.”–Kate Sánchez, But Why Tho? (contemporaneous)

SLAMDANCE 2023: ANIMATION SHORTS

366 Weird Movies may earn commissions from purchases made through product links.The prospect of reviewing animation is always alluring, but perhaps never more so than when the Slamdance film festival rolls around. Alternately dream-like and nightmarish as a general rule, this year’s slate bends considerably more toward the abstract and absurd—and as such were a particular treat. I highly recommend you invest in access to these fine additions to the “cartoon” canon, with a particular shout-out for Frank Volk and his ad-blitz bombastic “Hotdogs!”, which has the visual and narrative chops to pull on the heartstrings, induce plenty of chuckles, and squeeze in a seamless mention of dialectical materialism.

And without further ado, the Animation Shorts ’23 showcase!

Arrest in Flight (dir. Adrian Flury; 8 min.)—Candy-colored props and sets are put to unsettling use through an ambient-industrial-choral score and jerky animations—as if the mechanized legs, kitchen chairs, and “people” are being sliced in and out of time. Flury’s dissection of modern life, with all its repetitions and tipping points, hypnotizes the eyes and ears, making even a flippant optimist like myself all too apprehensive.

Babe Beach (dir. Ida Lasic; 8 min.)—Some social commentary from Croatia, with a (top) half-fish / (bottom) half-human beach guide. ’90s polygons and ’80s neon are on proud display as a couple of beach-bum tourists ask a not-quite-local about the benefits of tourism. Visually pleasing, wryly humorous, and remarkably salient.

Baloney Beacon (dir. Max Landman; 6 min.)—Stop-motion using balloons is a gimmick I had never before laid eyes upon. The effect was unsettling. Cosmic creatures are overrun by a death-ray emitted by a hungry god of a tiny planet, who then consumes his prey. Top marks for originality, tone, and medium.

Don’t Die on Me (dir. Ori Goldberg; 3 min.)—A couple of guys on a park bench sharing a doobie frame this scattered narrative, but I would remiss if I did not share the content warning: quintessence mucous. Ori Goldberg animates this quick, spiritual exploration of mucous in a George Grosz style, and does not shy away from the general unpleasantness of nose-related usage. Some sick humor.

Horse (dir. Diana Gong; 4 min.)—RAM trucks, sunsets, and a claymation horse sporting pretty eyelashes. The methods of “mixed media” never fail to keep my attention. Diana Gong combines live video, clay, tissue paper, and a little computer noodling to talk about masculinity, ideals, infidelity, and doubtless a bit more. While there is always something moving onscreen, it never overwhelms, and it almost feels like one of the more abstract interludes I remember Continue reading SLAMDANCE 2023: ANIMATION SHORTS →