Hell Girl (2019) by Koji Shiraishi

In 1965 a girl gets revenge on the school bully by calling on Hell Girl (Tina Tamashiro), an infernal avenger, and her fellow demons to take her to hell. These demons demand a terrible price however, as anyone who calls on them will also be taken to hell when they die. In 2019, the now elderly woman’s son, photo-journalist Jin Kudo (Kazuki Namioka), is asking to use this story for an article. The woman dies shortly after and the demons come to take her. When an idol, Sanae Mikuriya, (Mina Oba) is attacked by a crazed fan, leaving her with facial scarring, she also calls on Hell Girl (who is now contactable through a website; although only at midnight, and only by those holding a serious grudge). And later when Miho’s (Nana Mori) friend, Haruka (Sawa Nimura) falls victim to a dangerous black metal singer Maki (Tom Fujita), Hell Girl finds herself with another young woman willing to take this demonic bargain.

“Hell Girl” is based on the anime by Takahiro Omori, with the live action film being written and directed by Koji Shiraishi (Carved: The Slit Mouthed Woman). The film’s central premise, of an infernal ‘deal with the devil’ in the form of the revenge service offered by ‘Hell Girl’ is pretty solid horror fare, but unfortunately the film fails to capitalize on it. We rarely see the hellish tortures the victims are subjected too, with only a minimal look at one character being eaten by worms. This means that for the most part the threats of eternal damnation are not particularly terrifying. The tone is often more dark fantasy, with supernatural anti-heroes in the shape of Hell Girl and her band of demons. The film perhaps relies on some fore-knowledge of the manga, with none of these hellish characters fleshed out much, and even Hell Girl herself rarely making an appearance. Later in the film they seem to appear even when not summoned, and they seem to take little joy in their work, simply taking any soul they are asked to. This lack of characterisation is also apparent in the human protagonists, who either have no meaningful motivation or are unlikeable enough that their characters’ fates are no great cause for sadness. The seemingly tit-for-tat, and thoughtless nature of them calling up Hell Girl for revenge, becomes almost risible, requiring no effort and with too few obvious consequence shown to the audience. The film gives us brief glimpses of a psychedelic hell, a teen-friendly Teruo Ishii fairground that is always careful not to be too extreme, limiting itself mostly to decapitation, and where the demons conform to comfortable horror tropes (scars, dark clothes).

“Hell Girl” is a by-product of a successful anime and manga franchise, which doesn’t move much beyond its premise. The demons go through the motions of taking people to hell in a way that give the audience little cause for concern about its protagonists. With more character work and creative depictions of hell it could have worked, but unfortunately it fails to entertain.

Blue, Painful, Fragile (2020) by Shunsuke Kariyama

Ryo Yoshizawa and Hana Sugisaki star in this young adult drama about two students with big dreams. Kaede Tabata (Yoshizawa) maintains a philosophy of absolute non-engagement, his belief being that if you do not connect with people you can’t hurt them or be hurt by them. This all changes when he meets Hisano Akiyoshi (Sugisaki), a bright and socially conscious classmate. Hisano is someone who believes in changing the world for the better, ending poverty, war and discrimination. The two decide to begin a club called Moai, with the intention of running social events and improving things in a small way. However, as the club becomes larger it evolves into a group for connecting students with potential employers, and Kaede is forced to reassess whether he really wants to be a part of this more corporate club or whether it should continue at all.

While the film contains elements of romantic comedy drama, it also has a strong message about social issues and the difficulties in trying to make positive change in the world. The two protagonists are diametrically opposed in their worldviews, one a pessimist who believes change is impossible and that the best approach is simply not to try and alter things; and the other convinced that everyone can make a difference to the world. It is fun to watch the dynamic between these two, helped by great performances by Ryo Yoshizawa and Hana Sugisaki. Their clashing personalities make both their friendships and the disagreements between Kaede and Hisano feel genuine. The supporting cast, including Amane Okayama as Kaede’s friend Tosuke, Honoka Matsumoto and Nana Mori do a great job as idealistic young characters who . Yoshizawa and Okayama work great as the friends, with many of the funniest scenes together. The plot has a couple of twists that make it more interesting than an average drama. It flicks back and forth over the space of two years to show what the club was and what it became, which helps create a sense of mild intrigue as to what happened in the intervening time. The film is rarely entirely serious in tone, even when it touches on more serious themes of corruption, sexual harassment and abuse of power, instead remaining firmly in the comfortable territory of soft focus, brightly lit scenes featuring a cast always looking their best.

“Blue, Painful, Fragile” is a film that really captures the personalities of its characters and their relatable dilemmas in attempting to work co-operatively. It covers a number of issues that will be particularly pertinent to its younger target audience, including the social issues such as climate change, poverty, discrimination and war; the issues of corporatism corrupting any potentially benevolent social enterprise; data privacy; sexual harassment and mistreatment of women. But at its heart it is the central conflict between the two leads that drives the story. People are problematic, with their own jealousies and insecurities jeopardizing any attempts to do good. The film shows us that Kaede is kind hearted in his desire to do no harm, but his reticence to engage means he is also not making any positive contribution to society. On the contrary, Hisano wants to do good, but unwittingly ends up creating something that evolves into an organisation that has little to do with her high-minded ideals.