This is one of my favorite films. It seems to deal with a society in which people have been made into commodities, and it focuses on principal characters who have become discarded.
Rather than take a heavy handed or moralistic stance, Shozin Fukui brings a strangely restrained humor and an extreme, hysterical weirdness to the story. Along with Shinya Tsukamoto's 'Tetsuo' it is one of the classics of Japanese mutation film. (It is said that Fukui actually worked on 'Tetsuo.')
The cinematography is amazing, ranging from ponderous and Tarkovsky-like to accelerated stop-motion.
The performers are wonderful and likeable. Hage Suzuki is like a spastic butoh performer having a constant seizure. Onn-Chan's amazing face seems to have been genetically grown for the specific purpose of being viewed by wide-angle lenses. (Where did these people come from and why is it hard to find any information on them?!)
As an added bonus, this film has what has been touted as the most prolonged vomiting sequence in cinema history.
Rather than take a heavy handed or moralistic stance, Shozin Fukui brings a strangely restrained humor and an extreme, hysterical weirdness to the story. Along with Shinya Tsukamoto's 'Tetsuo' it is one of the classics of Japanese mutation film. (It is said that Fukui actually worked on 'Tetsuo.')
The cinematography is amazing, ranging from ponderous and Tarkovsky-like to accelerated stop-motion.
The performers are wonderful and likeable. Hage Suzuki is like a spastic butoh performer having a constant seizure. Onn-Chan's amazing face seems to have been genetically grown for the specific purpose of being viewed by wide-angle lenses. (Where did these people come from and why is it hard to find any information on them?!)
As an added bonus, this film has what has been touted as the most prolonged vomiting sequence in cinema history.