Himizu (2012) by Sion Sono

The 2011 Tohoku earthquake and tsunami, that devastated the North-east coast of Honshu and badly damaged the Fukushima nuclear plant, left many without homes and jobs and in a state of despair. “Himizu” begins with scenes of the destruction left behind: buildings reduced to rubble, personal possessions abandoned, and lonely figures wandering through the wasteland of a once populous town. Sumida (Shota Sometani) is a middle-school student whose family boat business has stalled in the wake of the tragic events. His parents are of little help, his mostly absent father returning only to demand money to furnish his own debts, and his mother finally giving up to run off with a fling. Sumida’s only companions are a group of homeless individuals whom he allows to stay by the boathouse and use the shower. His classmate Keiko Chazawa (Fumi Nikaido), is obsessed with Sumida, writing down and pasting his words on her bedroom walls; enamoured by his ordinariness and refusal to conform to the positive world view espoused by their teacher. Keiko decides to help him make the boathouse successful again, despite him repeatedly rejecting her assistance. Keiko’s mother is unsupportive, telling her daughter she is preparing a noose for her to hang herself and make her parent’s lives easier. Despite this Keiko remains positive, encouraging Sumida not to give up and trying to help him out of his depression.

Based on the manga by Minoru Furuya, writer-director Sion Sono creates an uncompromising drama set in the post-tsunami era: a dystopia that is nevertheless grounded in reality. The script was written before the Tohoku earthquake and tsunami, but was altered to feature this as a central element. The tragic events of 2011 loom large in the film, which uses its protagonists to tell a story that reflects the feelings of many. The financial ruin and feelings of depression that beset Sumida will be familiar to those who suffered. Meanwhile, Keiko represents the feelings of hope that they can rebuild and that however dark things are there is light at the end of the tunnel. Shota Sometani captures the cold, detached malaise of a young man who has suffered beyond his years, with tumultuous feelings of anger and unfairness repressed as he tries to come to terms with his fate. Fumi Nikaido provides the perfect foil as his gleefully hyperactive stalker, who bears her own sorrows lightly. A talented supporting cast includes Tetsu Watanabe as a simple-minded yet kind-hearted homeless man; Megumi Kagurazaka as Keiko’s uncaring mother; and Denden as a tough yakuza boss. The film’s narrative moves between the main characters and gives us a stark portrayal of a society that is trying to rebuild from the debris of disaster. Despite the generally downbeat tone of the film, there are moments of levity and humour sprinkled throughout, with the homeless individuals providing much of the comic relief. The direction and cinematography by Sohei Tanikawa is exceptional, pulling you through a chaotic emotional landscape with a visceral sense of the pain the characters are feeling. The shots of the earthquake-stricken locations need little extra to evoke feelings of upset at the realisation of what has been lost; and the film manages to retain this powerful, provocative air throughout, with the characters being sympathetic victims of the tragedy and emblematic of the anguish caused by it. The film features a classical score of Mozart and Barber that further heightens this intense dramatic quality.

 As well as dealing with the aftermath of the earthquake, the film also touches on other topics, such as domestic violence, suicide, nuclear power, the far right, abuse of women, and mental health. It questions humanity’s response to such tragedies, with secondary characters discussing how they personally profited from the devastation. Later in the film we see characters turning to theft and violence, further emphasising the fact that bad people will continue to exist. In contrast, Sumida is a character who is unable to pick himself back up following the loss, his feelings of being trapped and seeing no future for himself are a powerful representation of the crippling effects of depression. The question for the characters is what they do with their own lives; whether they allow themselves to be overcome with despondency and hopelessness, or strive to change their situation, in short how they go on living after such a traumatic experience. The poem that opens the film, read by Keiko, and is repeated by Sumida near the end, talks about people judging others while being unable to understand themselves. This can be read as a message to people to believe in yourself, to examine your own will, hopes and dreams and to follow them no matter how difficult it might seem. The film offers few easy answers, with an enigmatic ending that provokes deep rumination on the many themes raised by the story. An incredible work that documents the loss, in every sense, felt after the earthquake, and encourages us to consider how we go on.

Cold Fish (2010) by Sion Sono

Nobuyuki Shamoto (Mitsuru Fukikoshi) is the owner of a small fish store. Together with his wife, Taeko (Megumi Kagurazaka), and wayward daughter, Mitsuko (Hikari Kajiwara), they maintain a fairly unimpressive existence. When his daughter is caught stealing from a supermarket, she is helped out by Yukio Murata (Denden), a rival fish store owner who offers her a job at his store. Murata is comical, arrogant, outgoing, everything Shamoto is not. But soon things take a turn for the worse when Shamoto discovers that Murata’s jolly façade hides a much darker, violent character.

The film is well written with the mysteries surrounding Murata and the psychological and physical violence building to a screaming crescendo in the final act. It is far from an easy watch, with scenes of rape, abuse and very graphic scenes of dismemberment, but with director Sion Sono’s trademark black humour running through it. The main actors are fantastic. Fukikoshi does a great job of portraying the timid, disgusted Shamoto, and he does an incredible job of making this unimaginable transformation believable. The unhinged couple of Murata and his wife, a delightfully unhinged performance from Asuka Kurosawa, are also genuinely chilling with sudden changes from bright humour to dark violent moods. The film is long but almost every scene, whether the visceral, violent murders or the sharp dialogue are riveting. Shiya Kimura’s cinematography is stunning and the film almost revels in creating something beautiful out of a subject matter that is dark and nihilistic. The music by Tomohide Harada helps increase the sense of danger and draw you into the film.

“Cold Fish” may appeal to lovers of gore and exploitation cinema, and there is no shortage of shocking scenes, but, the film also expresses an underlying philosophy of alienation and nihilism that means the violence is far from gratuitous. The dissociative, sadomasochistic characters act in a world where the violence serves to puncture a sense of ennui which plagues them otherwise. The film offers no easy answers with the finale being an increasingly sickening display of human psychopathy. If you are a fan of this genre of blackly comedic, hyper-violent thrillers, then this is definitely a recommended watch. Enjoyably disturbing film.