Noriko's Dinner Table (Noriko no Shokutaku, 2005)

Sion Sono's 2½ hour tour-de-force follow-up to Suicide Circle (Club), Noriko's Dinner Table, might be a touch overwrought at times but I think every ounce is completely necessary for what Sono intends to accomplish. Both bracketing and running concurrent the events in Suicide Circle, Dinner Table (a story that nearly defies a written portrayal), is about 17 year–old Noriko Shimabara finding solice from her tired, small town home/existence in Haikyo.com's community forums as poster "Mitsuko", culminating in her running away from home in the midst of an electrical blackout; opportunity arrives in many forms. Noriko meets with forum mod Ueno54, a.k.a Kumiko, and without a place to go, is adopted into her family. As her storyline progresses, Sono then turns to Noriko's sister Yuka Shimabara's attempts to rationalize and discover the whys of Noriko's departure, which leads her to Tokyo as well. Maybe for the same reasons. Sono then turns to their father, then Kumiko for two more facets.

I've been vague not only because it would require spoilers (although I could argue there are no spoilers) but the film is told from different perspectives and gets a bit meta, lending to lengthy connections and reasons/motivations for everything that happens to the girls and their parents. Midnight Eye's review doesn't even attempt to parse the film; Mandiapple gives it a go. I'm doing this over lunch, at work, so time is an issue for me. In the end, I'm thoroughly satisfied with both it's originality and the connections with Suicide Circle. Yet, this is more a film among itself; think Miike's Black Society Trilogy.

I had reservations about the amount of Noriko's (sometimes third-person; unreliable?) voice-over narration, there's a lot, but those were allayed as Sono carried the essential narration into the other characters' contributions. Sono packs a hell of a lot into this film, including a few, not false mind you, semi-conclusions that honestly deepen his story with each progression. I dare say this could be Sono's masterpiece. We'll see.

Kadokawa Mystery & Horror Tales Volume 2 (2005)

Kadokawa Mystery & Horror Tales Volume 2 (2003) features three more short films from Global Fright Cinema and Kadokawa Pictures.

I have to admit, this installment in the Kadokawa series is somewhat better, and dare I say more intriguing than the previous volume. Could it be due to a larger budget? Or a superior effort in the writing department? I'd say the latter, for the most part. Stronger premises, unique twists, along with tried and true elements that are used to bring the stories as a whole together. Director Sato Takayuki makes his debut in the series (Last Day as a Teenager & Regeneration). Kenji Nakanishi makes a valiant return form Volume 1 (Desire To Kill) to direct Wooden Clogs With The Red Straps, which is my favorite of these three. The look remains low-budget indeed, but the substance takes a step up. A tad more star-power and tighter camerawork make the films more approachable also. This is truly a case of "it won't blow you away, but it's worth a look". If not for a pleasant surprise in the storytelling department, then give it a shot to see what some up-and-coming directors have to offer.

The Wooden Clogs With The Red Straps / d. Kenji Nakanishi / 37 min

This short film, simply called Wooden Clogs on the DVD, features Chiaki Kuriyama (Kill Bill's Gogo Yubari, as if I had to clarify) as Yoshie, a young, beautiful, yet reclusive daughter of a rural family that's visited by a research graduate from Tokyo (played by Naoto Ogata). While he's only there for post-graduate studies, he stumbles quite accidentally into Yoshie and forms a bond of sorts. It takes some time for the two to start a dialogue and for Yoshie to feel comfortable around the "big city house guest", as her drunken, boorish father calls him. Her physical infliction plays a large role in her self-confidence also. When the family notices that their guest has observed Yoshie stealing away to a grand Shinto temple on the property, they advise, and ultimately warn him that he is not to follow her into the temple. But one night, he can't shake his curiosity and does follow her down the wide dirt path, through a grand, wooden torii gate and ultimately up the stairs, past the geta sandals with the the red cloth straps into the dark hall of the temple where he learns a deeper, sadder family secret.

Regeneration / d. Sato Takayuki / 36 min

Regeneration is a story about a college student named Yui (played by Tsugumi; Long Dream) who introduces herself to a former college professor (Tohru Kazama) she sees sitting with head in hands in a hospital waiting area. The reason he's there, he explains, is to get help for his alcoholism and mental depression. They begin to see each other regularly and she soon moves into his apartment. The irony for him is that he realizes rather quickly that she's not the fun, easy-going woman she appeared to be, she turns out to be a self-abusing alcoholic and admitted sexual veteran; for which he's alternately repulsed and tantalized. They seem to be made for each other until "professor" and Yui (as she insists on calling him, much to his chagrin) begin to talk marriage. Yui admittedly feels the same, but she awkwardly delays because of an unbelievable series of tales she knows she has to tell him. The film opens with the professor lying on a sofa, clutching a bottle of whisky in a drunken stupor. As the scene widens, Yui sits quietly in a chair opposite him...with no head! Regeneration brings the story back to the beginning to show how they got there, and then progresses past that room for a shocking conclusion.

Last Day as a Teenager / d. Sato Takayuki / 28 min

The final "episode" is called Last Day as a Teenager. And quite literally, it tells a tale of a college student named Tomoya, who is trying to escape a curse put on him by a pint-sized Angel of Death; three years prior, that will culminate the day he turns 20 years old. He's in such a position due to making a deal with the child-wraith to save the life of his childhood friend, now quasi-girlfriend, Koko (Aki Maeda; Battle Royale 1 & Battle Royale 2) who was pulled from the water by Tomoya to save her from drowning. As he performs CPR, he begs into the air for some sort of divine help. Koko begins to breathe again when Tomoya cuts a deal with the Angel of Death where he will give his life to the wraith in exchange for saving Koko. But as you might expect, he shouldn't trust the wraith to be honest about the deal.