MilhouseIL

My favourite thing about this movie is that, amognst Sonos filmography, it does the best job of presenting you with a central theme that cuts through the gore, overt and repeated sexual violence, and over-the-top circumstances. More expertly and more earnestly than any of his other films.

It's central theme is one that puts a spotlight on the resentment that builds within people that are people pleasers. People that will knowingly say, do, agree, and commit to things that are against their better judgement and gut feelings to appease those around them, and manipulate the emotional relationship that they have with people. The resentment that can grow within a person who lives their life in this way can be palpable and manifests in ways that can be unexpected and dark, and this movie presents the most extreme limits this type of existence can take you to and the kinds of things it can lead you to become involved in. Sono of course presents this duality to us in his typical way with blood, gore, and nudity, but the pacing of this movie serves the audience well because it gives you time to begin to sympathise with the main characters plight, even after he eventually snaps.

The phenomenal performances of the entire cast in this movie do absolute wonders for bringing the tension and stress of this script and this story to life, and without their incredible performances the movie would not have delivered it's message and it's theme so well. Fukikoshi Mitsuru, Denden, and Kurosawa Asuka have several very heavy scenes between them and I can only image those shooting days and weeks took a toll on them.

Special mention to Kagurazaka Megumi for subjecting herself to these types of roles in her husbands films. I won't cast aspersions on their relationship, because I obviously don't know them, but I think it takes a very unique and special bond to be able to take on these roles that require intense sexual violence and nudity, all whilst your husband directs it.