Pour qui connaît l'univers particulier, voire soudainement sidérant et décalé de la plupart des productions de notre metteur en scène nippon Kiyoshi Kurosawa, cette faussement nébuleuse réalisation ne dépareille en rien des récurrentes obsessions qui peuplent la plupart de ses films. www.cinefiches.com
Sakura Ando episode is the best one, the 2nd episode is the weakest of all. But as a whole movie, it is a great take on revenge flick, both visually poetic and dramatic (still think it will be much better not for television so the cinematography work can expose its artistic beauty).
What sort of 'moron' blames little girls, and won't forgive them? What's up with the micromanaging of teachers? This suffers from bad writing. It takes a lot more effort than this to come up with a 'L'il Quinquin', or 'True Detective'. I don't know if the theatrical version is any better, but I can't imagine it is.
Parts 1 to 3 are extraordinary, 4 is something new and 5 puts it all together and is everything I ever dreamed of from a K.Kurosawa film. Staring at the black screen once the credits rolled by and the music starts playing I retained its legibility all by myself in the dark the distinct feeling and atmosphere was no longer scary it felt more like communion just change the tone or the subject and your already there.
I have seen the miniseries version, not the theatrical one, but I can assume they both demonstrate the same uneven character, the bookend segments delivering significantly greater dividends than the middle ones. Kiyoshi Kurowsawa is hardwired for this kind of tactile psychospiritual slow burn. Kyôko Koizumi is a force unto herself. I do not understand why it was shot on garbage video. Last hour or so: orgasmic.
TIFF '12 Too long a break from Kurosawa that has resulted in this incredible epic length picture orginally made as a miniseries for Japanese television. A school girl is murdered with 4 young witnesses unable to help in revealing the perpertrator. The overcome mother demands that each will deliver a penance of her choosing in the future. 15 years later we catch up with each young woman episode by episode. continued.
Kurosawa has crafted another unsettling yet poetic work that is part whodunnit, part treatise on the modern Japanese woman, with echoes of Park Chan-wook's Vengeance Trilogy. Although the formula of the series establishes itself from the first episode, it never fails to surprise, even when it appears to head toward predictable turns. The five women are phenomenal, especially Koizumi, Ando and Ikewaki.