Tag Archives: Sion Sono

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APOCRYPHA CANDIDATE: ANTIPORNO (2016)

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The fifth installment of the Pete’s Perverted Pix series.

DIRECTED BY:

FEATURING: , Mariko Tsutsui,

PLOT: A pair of actresses enact a sadomasochistic relationship within a film but switch roles when the cameras are off.

Still from Antiporno (2016)

 

WHY IT MIGHT MAKE THE APOCRYPHA: The manic, scene-devouring energy of the motor-mouthed lead actress is at least enough to place this deconstruction of pink films and media celebrity culture out of the ordinary, but then we slide down a hyper-surreal rabbit hole between the actresses in character and the actresses out of character, and their dreams, hallucinations, flashbacks, re-shoots of scenes, and existential reality riddles.

COMMENTS: Animal lovers beware: when our main character, Kyoko (Tomite) first opens her eyes in the morning, it’s to the sight of a large lizard kept in a glass bottle, clearly now imprisoned in there after having grown too big to crawl out, entirely dependent on outside forces to keep it alive. If you’re thinking this “bird in a gilded cage” metaphor might apply to our protagonist: ding, you are correct. Kyoko is a celebrity porn star and “artist” in Japan, kept in a brightly-colored but sparsely furnished apartment, where her existence as a performative sex object under the stress of Japanese idol culture has driven her well past barking mad. Not only does she dance and caper while hallucinating her dead sister playing the piano, she screams, throws tantrums, barfs, skips like a schoolgirl, and prances like a ballerina—mostly while stark naked. Kyoko is soon visited by her personal servant, Noriko (Tsutsui), and Kyoko shifts into alpha-bitch mode. She is cruel and humiliating to Noriko, and her abuse takes on an increasingly fetishistic nature. Kyoko humiliates Noriko, forces her to crawl and bark like a dog, forces oral sex on her, and sticks in a good belt whipping. When fashion model photographer One Hundred (Fujiko) and her posse show up, they only join in Noriko’s torment.

Just when Noriko is getting gang-raped, a director yells “Cut!” Ha, gotcha! This was just a scene these actresses were filming, and though they keep the same names, their personalities switch. Noriko is now an insufferably egotistic and unhinged diva, and Kyoko is a nervous understudy who trembles and grovels submissively. Yes, it’s one of those kinda movies. As subsequent scenes are filmed, the two lead actresses’  personalities each ramp up the sadism when it’s their turn on top, in a vicious game of humiliation tag. In between, we get treated to a snarling satire of the porn/film industry, as even the director treats Kyoko like a slave and the whole film crew pressures Kyoko to submit. I should add, all this is taking place in a few stylized sets given to bold primary colors and pop-art props, making for candy-sweet viewing.

If you think this movie is out of rug-pulls now that we have that movie-within-a-movie bit revealed, you’re mistaken. We slide back

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It Came from the Reader-Suggested Queue, List Candidates

APOCRYPHA CANDIDATE: EXTE: HAIR EXTENSIONS (2007)

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エクステ

AKA Ekusute; AKA Exte; AKA Hair Extensions

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DIRECTED BY: Sion Sono

FEATURING: , Miku Satô, , Ken Mitsuishi

PLOT: A woman’s corpse found in a human-hair-filled shipping container spews forth beautiful black hair, inflicting grisly fates upon those who use it as hair extensions.

Still from Exte: Hair Extensions (2007)

WHY IT MIGHT JOIN THE APOCRYPHA:  Paranormal hair attacks alternate with domestic drama, making a strange weave of narrative that slides the viewer ever more tightly between its strands as it braids into a frightening, heartwarming climax.

COMMENTS: You may note that the word “hair” appears three times in the plot description. This is not enough times. The hair in Exte is ubiquitous, vexing its victims in increasingly strange ways. An extension harvested from an organ-harvest victim poises itself ominously at the ear canal of its wearer; a stylist is bombarded with harrowing recollections of illegal surgery. The hair tips jab into her brain, and she jabs her scissors into the side of her customer’s head. Later, the victim’s daughter views a violent, bloody thrashing through a hair-cut gash in door of the cupboard where she hides. An apartment window smashes outward as copious human hair bursts through the living space. And those are just small snips of the sinister proceedings.

Simultaneously, we hear the story of Mizushima Yoku, an up-and-coming young stylist who cheerily bombards an unseen audience with exposition—a habit that she and a co-worker picked up from a crummy television show. At work, Yoku cheerfully goes about her styling under the firm, but kind, tutelage of the master stylist. She has a jerk-bag sister, Kiyomi, who abandons her submissive daughter at Yoku’s house for a few days while Kiyomi goes out to party with her scum boyfriend. This mix of filial tension and sober depiction of child abuse exists as its own story universe while, on the other side of the narrative, a creepy coroner with a hair fetish steals the body of a mystically charged woman who grows hair at a furious pace in response to the wrongs she endured. When paths cross, as they must do, things get… hairy.

Exte juggles its tones so deftly that it’s only upon reflection that it dawns that Sion Sono is up to something very strange. To be sure, the hair-murder set pieces made me want to cheer Exte on. But the fusion of that strand with small gauge melo-tragedy is simultaneously incongruent and perfectly blended—like a cunning weave of ever so slightly off-colored hair done at the hands of a master stylist. And this tangle of a reaction has barely even mentioned Ren Ôsugi as the manic-pixie-psycho-coroner, all creepiness, whimsy, and song in his seaside shack-cum-shrine to beautiful human hair.

Sono proves once again a master stylist, lovingly curling this absurd story together from its disparate strands (in case this all was coming across as too simple, there’s also “police procedural” thrown into the mix, as detectives investigate the increasing body count). The perfect pacing, balance of soft and terror lighting, and the finessed performances calibrated to a scissor-edge between high drama and silly splatter are a sheer delight.

WHAT THE CRITICS SAY:

“Even by the standards of Japanese horror movies, Exte is a very weird film. This is a movie all about hair, not just tangentially but intrinsically. Hair isn’t the McGuffin, it’s not the setting, it’s everything.” — M.J. Simpson, MJ Simpson Films (contemporaneous)

(This movie was nominated for review by Chris Thurlow, who describes it as “a possibly weird film about a man obsessed with hair who, while working in a police morgue, discovers a woman’s body that continues to grow copious amounts of hair despite the fact that she is dead.” Suggest a weird movie of your own here.)

Exte: Hair Extensions (Double-Disc Special Edition)

Exte: Hair Extensions (Double-Disc Special Edition)
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It Came from the Reader-Suggested Queue, List Candidates

APOCRYPHA CANDIDATE: STRANGE CIRCUS (2005)

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Kimyô na sâkasu

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DIRECTED BY: Sion Sono

FEATURING: , Issei Ishida, Rie Kuwana, Hiroshi Oguchi

Still from Strange Circus (2005)

PLOT: At a surreal cabaret show, 12-year-old Mitsuko tells her story of parental abuse culminating in the accidental killing of her mother and her own attempted suicide; suspecting her story is made up, publishers hire editor Yuji is enlisted to ferret out the truth.

WHY IT MIGHT MAKE THE LIST: Sion Sono has a lifetime pass to immediate consideration for our list, and this blend of truly disturbing scenarios, intriguing imagery, and repeated misdirection is exactly the kind of thing to catch our eye. He begins with subject matter so taboo and depraved that he seems unlikely to emerge with any kind of a reputation, but he then tucks it inside such a labyrinthine puzzle that qualms about the material are subsumed by wonder at how he’s going to pull it all off.

COMMENTS: The three-act structure of Strange Circus is almost too simple: Act I is the horrifying tale of an abused girl, Act II is the mystery over whether the girl’s story was made up by a popular novelist or recounts her own terrible upbringing, and Act III is the solution to that mystery. Couldn’t be more basic.

The movie as executed is anything but simple. Sion Sono knows the difference between shock and surprise, and he deploys both in their turn, choosing just the appropriate jaw-dropping image to fit the moment. It’s not merely that he can keep you off balance. It’s that he knows just the right way to do it.

Consider the first third of the film, which is a straight-out horror show. The scenario is utterly appalling: Mitsuko’s father forces her to watch his rough copulations with her mother and then eventually forces her into direct participation. In sync with this moment, Mitsuko’s world becomes visibly grotesque, with blood-red walls and a repeated transference with her mother. The girl’s suppressed turmoil is given form in the staging that makes her school look like an abattoir and her home resemble a crumbling mansion.

The middle section offers up something quite different. We meet Taeko, a mysterious novelist whose idiosyncrasies and domineering behavior are shocking in their own way, but no longer metaphorical. The strange carvings on her wall? The disguises that she uses to masquerade in public? Her habit of writing while wearing a negligee, sitting atop a cello case, and stuffing spaghetti in her mouth? There’s no filter for this strange behavior. What you see is what you get. In fact, only a couple stray trips into the fantasy world are found here, and pay attention to them when they come, because they’re a clue as to what awaits us…

…in the final act, when the true source of the awful tale of Mitsuko is revealed. This is pure Grand Guignol, and while the revelations are completely over-the-top and deliberately outrageous, a look back suggests that Sono has played fair with us all along. Alone, it might threaten to tip over into absurdity, echoing the wild finales of films like Performance or Beyond the Valley of the Dolls. But as crazy as it gets, it’s unquestionably earned.

Masumi Miyazaki is doing tour de force work here, essentially playing multiple roles and earning the audience’s affections even when her behavior borders on reprehensible. Strange Circus, it turns out, doesn’t just have an unreliable narrator, but is about the making of an unreliable narrator, and her performance taps into mystery, empathy, and beauty to sell you on characters you might have abandoned as irredeemable. A special mention also goes out to Rie Kuwana, who is heartbreaking as young Mitsuko, still radiating innocence even in the face of the indignities heaped upon her. (I made sure to watch the behind-the-scenes documentary for assurance that the actor wasn’t enduring the miseries of her character.)

Strange Circus is not easy to watch, especially in its opening scenes of household terror. But it is utterly audacious, and doesn’t waste its ambitions by coming up short with its revelations. Strange Circus is strange indeed.

WHAT THE CRITICS SAY:

“No matter how weird things get it’s always coherent and we always know that we’re being shown something that is “really” happening, albeit shaded behind denial and mental illness and wishful thinking. Sono’s playing by his own rules perhaps, but he’s still playing fair. When the ending comes, it doesn’t elicit ‘WTF?’ but ‘Oh! I get it!’”–Jeremy Knox, Film Threat

(This movie was nominated for review by ginanoelma. Suggest a weird movie of your own here.)

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APOCRYPHA CANDIDATE: PRISONERS OF THE GHOSTLAND (2021)

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DIRECTED BY: Sion Sono

FEATURING: Nicolas Cage, Sofia Boutella, Bill Mosley, Nick Cassavetes

PLOT: By order of “the Governor”, a nabbed robber must infiltrate the Ghostland to rescue the Governor’s grand-daughter.

WHY IT MIGHT MAKE THE APOCRYPHA LIST: Directed by Sion Sono, featuring Nicolas Cage.

COMMENTS: “They helped me because I am radioactive.”

This epic line is delivered, epically, by Nicolas Cage, standing atop a grand stairway beneath a massive clock, his right arm shattered, his left testicle likewise. He stands before a crowd of downtrodden souls. Amongst them is the bookish Enoch, volume of Wuthering Heights in hand, as well as the gaunt undertaker who collects souls. Watching from the periphery is Ratman and his Ratmen, a crew of thieving mechanics. Bernice, chalk-limbed and with obsidian-black eyebrows, begins a chant of rebellion. And so, the prisoners of the Ghostland rally, before marching on Samurai Town to depose the evil Governor.

Forgive me if I am telephoning in this review, but I was up until almost two o’clock this morning and arose shortly after six. Though rendering me useless for almost anything else, this primed me perfectly for Sion Sono’s latest, Prisoners of the Ghostland. Having snaked its way through the festival circuit all this past year (thank you very much, Covid, for keeping me from covering this at Fantasia…), this oddity has finally hit a handful of screens as well as pay-to-stream services. Under-slept and over-caffeinated, I watched, intermittently overcome with awe, perplexion, and hearty guffaws.

“They helped me because I am radioactive.” Even within the confines of this film, the line makes no sense. There is a permeating sense that something deeper is going on here: the growing flashbacks of a robbery gone wrong, the strange drawl-stilted speechifying by the white-suited baddie the Governor, the analogue slide show—narrated by a Greek chorus of the dregs of humanity—recounting the horrific crash between a truck full of convicts and a truck full of nuclear waste. There are moments of surreal whimsy, as when a hail of bullets cracks open a gumball dispenser, its candy-coated contents clattering in slow-motion throughout the carnage; or when Nicolas Cage’s “Hero” catches a burnt-out football helmet and busts out his gravedigger audition for Hamlet. Yes, the minds behind this story aimed for a much-too-muchness, half hitting the mark, half sputtering into the fizzly “What the?” of miscalibration.

I should be slapping the “Recommended” tag on this; I should have had my “Must See!” entreaty swatted aside by more reasonably-minded site administrators. However, as much as I enjoyed watching Prisoners of the Ghostland, it suffers from one or more of the following: too much incoherency, not enough incoherency, too much crazy, and not enough crazy. Nicolas Cage, as always, delivers; but his too much is only mostly enough. Its Sergeo Leoneciousness borders on Jodorowskity, but never quite makes the final leap. As a movie, Prisoners falls short, constituting merely a wacky, weird exercise in eccentricity and nuclear-samurai-symbolism; but in memory, I have little doubt it shall blossom into a strange patchwork of giddily campy memories of a Hero, played by Nicolas Cage, whose force of will makes me believe that he is, indeed, radioactive.

WHAT THE CRITICS SAY:

“No movie with Nicolas Cage, directed by the wonderfully weird Japanese director Sion Sono, should be this taxing, drawn out, and plainly boring…  Cage and Sono are truly kindred nutcases: they are artists who do not question themselves, and while they have a sense of humor stranger than we can comprehend, they are too sincere for irony. But ‘Prisoners of the Ghostland’ is truly just a beginning; a false start to what should, and still could be one of the greatest cinematic collaborations since sound met motion.”–Nick Allen, RogerEbert.com (contemporaneous)

Prisoners of the Ghostland (Steelbook) [4K UHD]

Prisoners of the Ghostland (Steelbook) [4K UHD]
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NORTH BEND FILM FESTIVAL 2021, FEATURES PART 1: FIVE FILMS FOR YOU

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The North Bend Film Festival opens today and runs through July 18. Online ticketing is available, but is geo-locked to residents of Washington, Oregon or Idaho. In the future, these movies may be available through alternate venues—stay tuned to this website for updates.

Swan Song (dir. Todd Stephens)— Opening night feature Swan Song is the most shamelessly sentimental and fabulous biopic I’ve had the pleasure of watching. My greatest complaint is the by-the-books competence of its actual crafting, but that quiet framework allows Udo Kier to re-enact the heartwarming final days of Pat Pitsenberger, hair stylist for the well-heeled and well-connected country-club set of 1980s Ohio.

Pat’s unabashedly gay mien makes up for Swan Song‘s rote style. We first meet him suffering the tedious indignities of nursing home life. Pat’s daily routine of unfolding and refolding the facility’s paper napkins is interrupted by a lawyer summoning him to ‘do one last favor for an old client: style her hair for her funeral. His journey from living death on Sandusky’s outskirts into the remnants of its underground gay havens is bittersweet, but heavily dosed with witty flamboyance (Pat is surprised when a store clerk recognizes him; she exclaims, “Who could forget ‘the Liberace of Sandusky’?” Pat’s response: “Was I that butch?”).

Swan Song also explores the gay community’s dramatic culture change from forty years ago to the relative openness of today. Watching two dads playing with their kids in the park, Pat observes “I wouldn’t even know how to be gay any more.” Sentimental, perhaps, but proud as well. Much like the glorious queens and queers of days gone by.

Luchadoras (dir. Paola Calvo, Patrick Jasim)—Life in Cuidad Juarez is hard, and even harder for women. The city is home of countless unsolved murders, and a masculine attitude with a mean streak. Luchadoras explores these phenomena through the lens of three “women fighters,” as the title’s translation makes clear. I initially felt this clarification was superfluous. It was only after watching the whole documentary that I realized its necessity. These women fight for everything: their livelihood, family, and self-esteem. That’s what attracts them to the world of luchadora combat: at least on the ring, they fight on their own terms, with their own kind, and for their own satisfaction.

One fighter, Lady Candy, is trying to attain partial custody of her children after they were kidnapped by their abusive father and brought to live in El Paso. Baby Starlight is aging, so her chances of Continue reading NORTH BEND FILM FESTIVAL 2021, FEATURES PART 1: FIVE FILMS FOR YOU →