Plot from IMDB: An experienced police detective has to investigate the murder of an unknown woman dressed in a scarlet dress. All the clues he finds relate to him, which troubles him a lot. A ghost dressed in a scarlet dress soon starts appearing to him while more murders are discovered: all victims were drowned in salt water. Read More »
Tag Archives: Kiyoshi Kurosawa
Midnight Eye review:
Serpent’s Path and its companion piece Eyes of the Spider (Kumo No Hitomi) both start from the same premise: a man taking revenge for the murder of a child. Kurosawa used this premise as the jumping-off point for the two films rather than their definition, resulting in a pair of works which are not so much occupied with revenge, but with the mental processes of human beings in situations that have placed them outside everyday life. Read More »
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 explanation, he makes his way to a mountain forest, where there is a peculiar tree called charisma. Should it be destroyed or protected? People stand divided over this one tree. Read More »
A woman begins working at the same company as a security guard that she believes might be a former sumo wrestling serial killer. Read More »
lotwise, a young husband appears to be cheating on his wife. He thinks she is having an affair with her cousin. She retreats to a large upstairs room covered in cobwebs and is trying to will herself into becoming an insect, just like the character in Kafka’s Metamorphosis.
House of Bugs is an impressively constructed tale, flashing forwards and backwards in time as well as dodging between different characters’ viewpoints. It’s beautifully acted and slowly builds to a creepy dream-like climax. Read More »
A documentary was made during the production process of Bright Future, called Aimai Na Mirai (Ambivalent Future). It was released in theaters in Japan and it’s available on the Japanese DVD release of Bright Future. The documentary was not so much a making-of as an interpretation of your work, with Bright Future functioning as a case study. What did you think when you saw it?
I didn’t watch it so attentively, because I felt a bit embarrassed about watching myself. I kept thinking “What a liar this director is!” (laughs). And I understood the difference between documentary filmmakers and fiction filmmakers. Documentarists shoot elements of reality, and after that in post-production they try to turn it into a lie as much as possible. Directors like me who make fiction – and I’ve never made a documentary – we deal with fictional elements such as the script, but after that we try to make them as close to reality as possible, and try not to lie as much possible. It’s the complete opposite.