Scandal (1950)

aka SHÛBUN

Directed by Akira Kurosawa

1950 saw the release of two films by Japanese filmmaker Akira Kurosawa. The first Scandal has largely remained an obscurity in Kurosawa’s filmography, far overshadowed by the second film of the year Rashomon. The latter introduced western audiences to a new world of Japanese cinema when it scooped the Golden Lion award at the Venice Film Festival in 1951. Kurosawa was soon heralded as an artistic genius and feted by art cinema enthusiasts eager for something outside their experiential world. The historical films of Kurosawa often betray their indebtedness to Hollywood, Rashomon however is the most atypical of his historical adventures in its attitude to point of view and subjectivity, which perhaps accounts for its art circuit success. Personally I have always found Kurosawa’s contemporary set social dramas to be more interesting, and as a representation of the complexities, anxieties, and dilemma’s of a Japan occupied by a foreign force Scandal emerges as a more important film than Rashomon from a socio/historical point of view.

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.

The Kiss of Death (1973)

aka DU NU aka POISON GIRL

Directed by Ho Meng Hua

Chu Ling (Chen Ping) is a vibrant and pretty young factory worker whose life is turned upside down when she's savagely raped by five malicious men late one evening. Before being discharged from the doctor, she is informed one of the men has given her a rare venereal disease called 'Vietnam Rose', a deadly STD brought back from the war. Told that she will eventually die from this incurable sickness, Chu plots revenge on the five men who ruined her life. A crippled club owner named Wong Ta (Lo Lieh) takes pity on her and trains her in how to defend herself. Chu Ling then scours the streets for the five rapists before her time has expired.

Shura (1971)

aka DEMONS aka PANDEMONIUM

Directed by Matsumoto Toshio

Gengobe Satsuma, an exiled samurai cast out as an Asano clan retainer is given a second chance to join his brothers in arms to become the 48th Ronin against the Shogunate. His faithful servant gathers the 100 ryo required for his acceptance. Gengobe is also in love with a greedy geisha named Koman. About to be sold to another man, Gengobe learns that for him to keep her, her debt is exactly 100 ryo.