A tale of agonized Christianity and murder familiar since Dostoevsky, but, amazingly, given an even bleaker cast by Imamura. The theme is the wounded pride of Japanese manhood brought about by the war - not nationalistic, but the extremely deep personal and spiritual scars that only Freudian family romance can produce. The impassively filmed murders, and despairing ending, are some of the most disturbing in cinema.
I have waited surprise or a good breaking point . But film's story was blended with a killer and fraudster stories...I have watched a brutal character who has animal instincts... I do not think that there is a well written and deeply decoded character .Watching this shallowness which inside character's soul really bored me . there was not anything in the movie designed brilliantly. 10 / 6.5
Incredibly beautiful, for a film following a horrific crime spree. Takes more of a poetic stance, with a haunting atmosphere, rather than procedural - as most films of this genre tend to be. There is a brutal serial killer film here, but beyond that there is a very dark sense of humour, and masterful filmmaking that even reminds of softer, more elegant Japanese New Wave films. Unsettling and unique.
The technically stylish takes on real crimes such as Zodiac seem paper thin to this subdued and unsettling take on a real murderer, slowly pulling you into the world of the 'characters', all of them fatally flawed but human, amplified by a fragmented narrative structure that avoids leading you by the hand through a rigid timeline and allowing Imamura to bring in his view on Japan. It confirms for me his talent.
Don't know if a finer movie has been made. Can't think of another that so successfully skirts conventional psychology without committing to it reductively, without sacrificing mystery. The direction is protean and possibly random while maintaining an unwavering focus- a very rare achievement. Imamura knows that he doesn't have to choose between opacity and insight- the truth is between the two poles.