The embodiment of nihilism portrayed through Japan’s lost teens.

Presentation:

The film was shot on old Sony cameras with B4 lenses and filters for a surrealist look. The visual character is heavy with notable use of clipped highlights to present dreamy visuals. The film utilizes the now cult status Lily Chou-Chou soundtrack as well as romantic classical music from Claude Debussy, which has ethereal feelings in conjunction with the darkest of plots. There are 3 acts interwoven with the unique plot device of text messages within the Lily Chou Chou fan website, a reference to Serial Experiments: Lain. Nihilism is portrayed through teenage bullying, this is in some ways the darkest film on this list both explicitly and thematically. Teenagers are pathetic, horrendous and innocent at the same time with often minimal acting that makes the characters feel like passive shells, yet also extremely realistic at the same time. Cinematography utilizes wide angle inspiration you might see from Wong Kar Wai films except with floaty handheld movement mimicking the amateur handling of the teenagers, whom also present the movie through their camcorders. Overall very uniquely overly-bloomy visuals which suit the story.

Story:

The film has an extremely dark coming of age script of teenagers growing up in disenfranchised crime-ridden Japan. Through non-linear 3 part acts, bullied Hoshino and Yuichi grow up as childhood friends but are eventually torn up after a near death experience in Okinawa, which is the beginning of Hoshino's change into a sadistic bully. It's very heartbreaking because we are shown their happiness and friendship juxtaposed with Hoshino's descent into cruel bullying. Crime and music are integral to every act, bridging experiences together. Ultimately we see the effects of extreme bullying, crime and rape. The film thematically references a period in Japan where teenage crime and suicide is very high as a result of family expectations and a strong recession. The director wishes to capture this nihilistic sentiment through this film and it becomes more evident when looking at his personal statements as well as affiliations with other Japanese directors (Evangelion) with similar themes of passive nihilism.

The most common devices we see in this film are theft (money) and music (the ether). The kids are always stealing (money, CDs), in the very beginning they want to go to Okinawa but don't have enough money so they steal it. On the trip they have a lot of fun, but after near death experiences the tour leader explains that Hoshino lost 2/7 lives, the inception of his disillusionment. He suggests the boys "brought something bad with them", perhaps it is the money they stole. Hoshino ends up throwing the money away into the water, but in a rebellious way rather than cautious or cathartic. A perverted man that previously constantly stalks the boys ends up jumping in front of their vehicle, presumably committing suicide and making life not seem so precious after all. Hoshino hence transforms into a sadistic bully, which is possibly also the result of his parents divorce and ruin of family business, which is explained by one of the female bullies that anyone would go bad under such circumstances. We can also see Hoshino's pain as he screams in barren rice fields as opposed to the lush green rice fields Yuichi listens to music in. Hoshino tortures Yuichi to do his criminal bidding, assaulting him and humiliating him to masterbate. Yuichi is so paralyzed and passive, he just does what he's told and is completely powerless, presenting the state of Japanese disillusioned and apathetic youth. Hoshino forces him to get the money from Tsuda, Hoshino's prostitution worker, by threatening her with an explicit video he took. In one scene she throws the money at Yuichi, stomping and ripping the bills. Money is seen as a source of evil in this film. They want it, but it causes them misery at the same time, or at least through the pursuit and the method to obtain it. In the end, nothing really matters, all characters feel tremendous pain, even Philia (Yuichi) tells blue cat he wants to commit suicide online, especially when the girl he loves, Yuno, ends up being raped by Hoshino's gang, a consequence of Yuichi's passive obedience.

Analysis:

The saving grace for Japan's society and purpose of the film is suggested to be the ether, a place of untarnished peace that Lily Chou-Chou fans often try to preserve the sanctity of. The ether is the music space and atmosphere created by Lily Chou-Chou, manifesting through her music, which represents innocence and an escape for Japan's hopelessness. Even though everyone hates their lives, music allows them to carry on through the pain, as explained by concert goers. Yuno is the most musically gifted, playing Debussy in the background to deal with her experiences, even after cutting her hair off to prevent Hoshino's extortion. She is strong, as explicitly described, perhaps through her love and dedication to music shown by the long after school hours of practice. Hoshino breaks Yuichi's Lily Chou-Chou CD, which symbolizes that there is no escape for him, there is no redemption to relieve himself from his demons. Tsuda's only peace is committing suicide after she borrows Yuichi's CD, as she wants to fly like the kites, perhaps a reference to Kite Runner (kites often represent rape and a dark juxtaposition in literary themes). After Hoshino and Yuichi meet up at the concert meetup for Philia and blue cat, only Yuichi knows the other's online identity through an apple. Hoshino tragically steals Yuichi's ticket unaware he his Philia. In cathartic fashion, Yuichi faces his tormentor after instigating a riot and murders Hoshino with a knife through the blue cat apple. Afterwards, he learns piano to deal with his shame. There is a well framed scene suggesting he still contemplates suicide, but ultimately life goes on, it is unclear how he will approach Yuno in the end of the film or if there is any redemption. But he does ultimately overcome his passiveness and shame by confronting his demons showing some improvement.

Tonally, the film presents all 3 of the largest player's POV somewhat neutrally. Hoshino is also presented as a victim of this system, although we do not fully see the true reason for his spiraling transformation, it could as simple as he has always been depressed and that no one understands him, which he explicitly mentions. There is very loose evidence to suggest he was sexually abused other than the flying arrow fish and affinity for thrusting swords of kendo. The film didn't manage to make me have any sympathy for him. The cycle of prevalent abuse ultimately continues, rampantly learned through society whether it is from bullies, the sexual frustrated perverts preying on children, or desperate criminals hijacking a bus on TV. Just like other Japanese content like Alice in Borderland, recurring themes of a passive society where everyone contemplates suicide with a meaningless outlook are central to this film. Japan's society is pretty screwed.

Conclusion:

This is a very nuanced film with ambiguous characters. They are all reprehensible, particularly the female bullies, whom never receive any justice. The film leaves you very dissatisfied by design with a somber, dark nihilistic tone making you truly feel that nothing matters. But there is just a flicker of acceptance peeking through this emptiness of meaning. The director doesn't offer any solutions nor suggests things can even get better. It's brutal, definitively doomed, but maybe we can ease the pain through shared misery whether it be music or film. It could also be that works like this, Lain, Evangelion, are just emotional outlets for these directors to vent and portray the depression that so many lost souls in Japan feel. However I don't fully agree with the messaging as there is absolutely beauty and goodness in life that this film omits. The film successfully caters to depressed individuals by illustrating the sentiment of nihilism through its pure teenagers but it's an incredibly provocative experience nonetheless, making you share the directors painful apathy. Whether you have a dark enough mind to accept and appreciate such a film is an entirely different story.

more rotten chilis