A frustrated insurance salesman lives a life of quiet desperation with his girlfriend Hizuru. His job yields little fulfillment, his relationship lacks passion, and he feels overwhelmed by the inhuman scale of Tokyo. His life turns when his old high school acquaintance Kojima pays him a visit.
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The take on showcasing hatred and manliness as sensation that practically brings on physical transformations. Loved the turns the plot took, turning the protagonist into an antagonist, use of the women being at the center of the conflict and really being the most dangerous of the three. There's some camerawork that could be toned down but its insane how much emotion is drawn from Itchy and Scratchy violence.
I enjoyed this film's style and atmosphere, some very cool shots. Great cast and performances. The film is brutal, filled with impressive fighting scenes. Watching this film I felt like it's more about a fight in the society, trying to find our own place in it. It's a film about our limitations, frustrations, desires and how they can crush us... The relations between the three main characters are a bit confusing.
Didn't see the connection with Fight Club other than the high-stakes fighting. The interesting thing about this movie was how all three characters are trying to stop one another from turning into something else, and then, mad on bloodlust, egg each other on at the same time. The storyline with the murdered girl emotionally flat and a bit pointless, but the three-way relationship and the violence pack a punch.
This came terribly close to being a 2-star film, but for 3 things: the blood geysers, a few brilliant scenes (first and foremost, the phone call/"Don't have sex with her" scene), and some genuinely unexpected plot turns (especially as regards the female character, Hizuru). Still, I'd recommend it be watched with a friend with a sense of humour, as I did, as an antidote to the film's more tedious aspects!
"I was on my way home, but the moon brought me back here" - very cool stylised, surreal film. Immense bruises and bloodiness. Perfect straight to camera shots and beautiful character poses. But the reference to Fight Club is unfair and misleading. You can't enjoy this film for what it is, if you're thinking about Fight Club.
Here Tsukamoto comes of cinematic age. Like his other films, the characters are naturally unattuned with their bodies (the end's beautiful montage is the equivalent of a sadomasochistic circle-jerk). But this film has deeper subtext: the love triangle allows for an exploration into the possessive nature of sex, then the liberation of the body -- and thus has a bit of underlying proto-feminism.