Visitor Q (2001)

aka BIJITA Q aka LOVE CINEMA VOL.6

Directed by Takashi Miike

When prolific Japanese director Takashi Miike was invited to contribute to the Love Cinema series, few could have predicted the outcome would be the highly controversial Visitor Q. Love Cinema was a series of six direct to rental films from independent filmmakers, which were all shot on digital video for ultra low budgets. Of the six films, five vanished without trace into the abyss of celluloid history, but the sheer outrageousness of Visitor Q, and the increasing cult reputation of its director, ensured a limited theatrical run beyond the confines of the series for which it was intended. Miike was no stranger to controversy at this point in time. His cinema marked by excessive violence, bizarre sexual perversity, and a refreshingly rebellious attitude toward past traditions. Miike embodied a punk ethic, and a particular gift for offensive grotesquery, the like of which had rarely been distributed in the west. In many ways Visitor Q is Miike’s ultimate work of transgression, a vile cocktail featuring one abhorrent event after another. The challenge to social taboo is nothing new, even if Miike piles it on with typical exaggerated relish. The problem with Visitor Q lies in the fact that for much of its brief running time it is uproariously funny.

A Snake of June (2002)

aka ROKUGATSU NO HEBI

Directed by Shinya Tsukamoto

Cult Japanese filmmaker Shinya Tsukamoto has time and again proven himself to be the embodiment of what is understood as an auteur. From the moment he emerged with his dystopian tale of metallic mutation Tetsuo (1989) he has written, directed, produced, and designed a raft of distinctive and unusual feature films. Tsukamoto’s carefully constructed world often explores the human body undertaking an act of revolution in the face of urbanisation, technology and the banality of capitalist society. Although Tsukamoto’s vision is a unique one, it is couched within stylistic terms that evoke the nightmare logic of David Lynch and the body horror of David Cronenberg. Tsukamoto is fiercely independent and through his production company Kaiju Theater has contributed some of the most challenging films in modern Japanese cinema. In terms of narrative A Snake of June has to rate as one of his most straightforward films. The story unfolds in a manner which is largely understandable. This aspect of the film will not present audiences with a challenge, but the perverse sexual content and the blue tinted monochrome stylistics might.

Uzumaki (2000)

aka SPIRAL aka VORTEX

Directed by Higuchinsky

The boom in the production of horror films in Japan at the end of the last millennium didn’t take long to degenerate into cliché, convention, and predictability. The Kaidan or avenging spirit motif had long been a staple of theatrical modes of address and had popped up sporadically throughout Japanese film history. But by 2000 I for one was sick of long haired phantoms exacting their revenge through modern technology. With the benefit of hindsight one can now see how few moments of originality there were. Even the South Korean examples were rarely anything other than pallid imitations. This makes Uzumaki all the more exceptional. There is a genuine spark of inventiveness and creativity in director Higuchinsky’s handling of Junjo Ito’s manga source material. This was Higuchinsky’s directorial debut and he brought to his feature films a visual sensibility honed from a career producing music videos.