Two disenchanted young men and their partners become involved in a cult in this erotic experimental film from Akio Jissoji, part two of his “Buddhist Trilogy”. We are first introduced to the two couples in a motel, where they are watched over by members of the cult. Shinichi (Koji Shimizu) and his girlfriend Yukiko (Akiko Mori), and Hiroshi (Ryo Tamura) and his girlfriend Yasuko (Hiroko Sakurai). Members of the cult rape Yukiko on a beach after knocking out Shinichi. When he comes around he also engages in sex with her unconscious body, excited by the feeling of her being in a death-like state. They are later introduced to the cult led by Maki (Shin Kishida), who are self-substitent through agricultural work, and whose aim is to stop time, to step outside the boundaries that constrain normal human society. They believe that eroticism is a means to achieving this, putting them in a state that is beyond the temporal.

Written by Toshiro Ishido and directed by Akio Jissoji, “Mandala” is a difficult work to watch, not only as it features rape, abortion, and suicide, but also for the complex blend of political, philosophical, and religious thought that comprises the plot. If you have seen “This Transient Life”, the first part of  Jissoji’s “Buddhist Trilogy”, the similarities in style here will be apparent throughout, from specific camera moves and angles to the way certain conversational scenes are framed and blocked. This film is largely in colour, utilising black and white to great effect in creating a distance and contrast with particular mindsets. We largely see the black and white appear later in members of the cult who have given themselves over to the notion of rejecting time, or living in a liminal state on the cusp of death, while the colour represents perhaps the clear eyed view of life as it truly is. The minimal score, again by Toru Fuyuki, includes pipe organ music and a soundscape of ticking clocks, further emphasising the theme and ominous presence of time. Again there are heavy religious overtones to the work, with close-ups of prayer beads and Buddhist imagery of demons throughout.

The story itself is relatively straightforward, although the actions of the characters, particularly the cult members, may be almost impossible to understand at first. Essentially the protagonists are looking for an escape from their lives; they are failed revolutionaries, who see in the cult a means of transcending the human world, becoming something outside of it. One of the men throws himself wholly into this new religion, abandoning his sense of time, his connection with the living world, subsuming himself into the eternal, while the other finds it harder to disengage from humanity, largely sickened by what he sees as nothing more than a debauched sex/death cult. The film tackles themes of political disenchantment, religious fervour, eroticism, mankind’s relationship with time and death, and nihilism, or the rejection of what we might consider human values. The political and philosophical diatribes that the characters go on certainly leave you with questions about the right and wrong path for people, and the film’s ambiguities, including a particularly dark ending, mean that it stays with you long after it is over.

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