REVIEW: Kotoko

Shinya Tsukamoto's most intense, brutal and realistic work to date

Kotoko
Premier: 8th September 2011 (Venice)
UK release date: 8th October 2012 (DVD/Blu-Ray)

Written by
Shinya Tsukamoto
Cocco (original story)

Directed by
Shinya Tsukamoto

Cinematography by
Shinya Tsukamoto
Satoshi Hayashi

Starring
Cocco
Shinya Tsukamoto




Shinya Tsukamoto is an independent filmmaker who since the release of his 1989 breakthrough Tetsuo: The Iron Man - a surreal whirlwind of metal, bodies and stop animation - has been honing a style of filmmaking that is extremely distinctive yet ever-evolving. Tsukamoto's films revolve around nightmarish journeys into the subconscious and often explore conflicts and distortions of the human body: in this respect his films could be likened to those of David Cronenberg or David Lynch, both often delving into dream states and bodily transformations.

Tsukamoto's films have a distinct character to them due to the fact that he takes complete creative control over almost all aspects of the filmmaking process; Kotoko is released through his own Kaijyu Theatre production company and he is credited as writer, director, cinematographer, editor, producer, production designer and also acts in the role of Tanaka. This level of control has seen him carve out a unique and strong personality that can divide audiences, yet a film like Kotoko demands this independent focus and thrives because of it.

Kotoko tells the story of a single mother (named Kotoko) who suffers from severe depression and schizophrenia. Kotoko often sees double and finds it hard to distinguish between what is real and what is imaginary, the double in these cases will often live out her most violent fears - for example, a stranger trying to steal her child. The majority of the film plays on this tension of fear and vulnerability caused by depression coupled with having to protect an infant child.

The role of Kotoko is played brilliantly by singer Cocco who also provided the initial story for the film though interviews conducted by Shinya Tsukamoto surrounding her personal experiences with depression and self-harm. The ties that Cocco has to the character of Kotoko gives the film an extreme intensity and believability that is unlike anything Tsukamoto has featured in previous films, there is a weight to the character and the world she inhabits is brutally realistic.

One direct link between the actress/singer Cocco and the character she plays is the singing that features regularly throughout the film. For the most part when Kotoko bursts into song the vocals are left unaccompanied and lie bare, her singing has a desperate quality to it that feels both obstructive to the flow of the film whilst also being undeniably intense and emotional. I personally have a love/hate relationship with these sections but can appreciate how they add personality to the film and make explicit Cocco's connection to the character of Kotoko.

The cinematography has a strikingly clear and colourful look to it which when put side-by-side with the murky shadows and blue/orange filters of one of Tsukamoto's earlier films, Tokyo Fist (to be re-released Nov. 11th through Third Window Films), shows how far Tsukamoto is willing to experiment and push himself in aid of the story; the clarity of the image feels like a concious de-cluttering, lending the violent scenes a strong potency. The creative DIY aesthetic that is always a strong presence in Tsukamoto's work is still here in Kotoko, yet manifests itself in new and interesting ways: a lot of attention has been given to the film's set whereas I found that in earlier work the make-up, lighting and extravagant editing and effects tended to have dominance. There is a scene towards the end of the film that really highlights just how creative Tsukamoto can be with a set and shows how a film's set can be used dynamically to convey a character's emotions in a complex and imaginative way.

As with almost all Tsukamoto films there are scenes in Kotoko of extreme graphic violence, yet the film also displays a tenderness that is unlike anything the director has been able accomplish before, perhaps the closest he has come to this in the past would be the slight misfire that was 2004's Vital. The realistic feel of Kotoko's world gives weight to its intensities and makes for an often unsettling viewing experience. Some viewers may find the themes and images too graphic to watch, but personally I find it refreshing to see a treatment of violence on-screen that is emotionally and psychologically moving as well as visually shocking.

It is hard not to see Kotoko as a turning point for Tsukamoto, a new visual style has been marked out and a turn towards 'realistic' themes works surprisingly well overall. Fans of his previous films will undoubtedly find a lot to love within this film, a film that most closely resembles A Snake of June and Bullet Ballet from his back catalogue. Whilst not perfect - a few too many self-harm scenes and some slight pacing problems here and there - Kotoko is an undeniably unique and creative film that hits incredibly hard and leaves you with a lot to think about. An intense and brutal film that shows a different side to Tsuakmoto and makes me wonder where he might go next.

8/10

Released on Blu-Ray and DVD by Third Window Films



Posted: 21st June 2013