As far as serial killers stories go, "Cure" has a good, if not an entirely memorable premise. What makes it rise above as a(nother Kurosawa) masterpiece is how the director unnervingly sets his camera and actors. Kôji Yakusho and Masato Hagiwara are mesmerising. I instantly and instinctively replayed most of the long takes in confusion and awe.
I must admit that during the second half of this there was a difficult struggle between my consciousness and the void of sleep, which perhaps renders my rating superfluous. But my inability to stay in the world of the living gave this film's hypnotic mode a certain poignancy, and I was feeling pulled in both directions towards a preternatural way of being.
9 - Kurosawa's near-obsessive focus on the repetitive motions and sounds that reflect the crux of the killer's power of suggestion is a touch of genius, almost fourth wall-bending in the way it enhances the film's suffocating atmosphere of fear and discomposure. Kurosawa knows (or knew) that there is no supernatural phenomenon scarier than suppressed human desire.
If there is any other possible "Teorema" is this one.This film is about the touch of evil and how that spreads (opposing an certain pasolini's redemption). The last shot is one of the most discreet, still one of the most powerful there i ever see (when the girl holds a knife, you can missed that in the middle of the shot in the restaurant). So, perhaps, more than "Teorema" is about "Saló".