Renji Ishibashi Movies

Directors Michel Gondry, Bong Joon-ho, and Leos Carax each direct a segment of this triptych feature about life in 21st century Tokyo. The saga begins with Gondry's segment, entitled "Interior Design," about a young couple who moves in with an old friend while attempting to establish themselves in Tokyo. Hiroko (Ayako Fujitani) and Akira (Ryo Kase) have just arrived in the city. They're eager to launch their careers, but first they'll have to find a place to stay. Though Hiroko's old friend Akemi (Ayumi Ito) opens her doors to the ambitious young couple, her boyfriend isn't exactly thrilled by the new living arrangement. As Akira takes his first steps toward becoming a filmmaker, the neon jungle beckons to Hiroko. Before long, Hiroko begins to experience a startling metamorphosis that instills her with a newfound sense of peace and purpose.

The second chapter, Leos Carax's "Merde," follows the debased exploits of an unsightly subterranean creature (Denis Lavant) who emerges from the Tokyo sewers to taunt and torment the unsuspecting denizens of the city. Stealing cash, pilfering cigarettes, frightening old ladies, and even going so far as to salaciously lick schoolgirls, the gibberish-spewing troublemaker dubbed Merde sparks a media frenzy that sends all of Tokyo into a panic. The situation spirals as Merde discovers an arsenal of hand grenades in his underground lair, and begins throwing them in the streets at will, creating an environment of total urban terror. Later, Merde is apprehended and pompous French magistrate Maître Voland (Jean-François Balmer) arrives to defend the deviant in a Japanese court. The only person capable of speaking his client's unintelligible language, Voland stands at the center of a media circus that soon engulfs all of Japan. When Merde is convicted by the court and sentenced to death, justice takes a turn for the surreal.

The trilogy winds to a close with Bong Joon-ho's "Shaking Tokyo," in which a reclusive pizza addict who hasn't left his apartment in over a decade falls for a pretty delivery girl at the very same moment an earthquake hits Japan. A so-called hikikomori who never dares venture outside, the lonely shut-in (Teruyuki Kagawa) subsists almost solely on pizza delivery. When a beautiful delivery girl shows up at his door and promptly faints when the ground begins to shake, it's love at first sight. Later, the agoraphobic man discovers that the object of his affections has become a hikikomori herself, and boldly ventures out of his apartment in order to declare his love. The moment he sets eyes on her, the ground starts to rumble once again. ~ Jason Buchanan, All Movie Guide

Two men imprisoned for seperate murders find their fates mortally intertwined in cult director Takashi Miike's homoerotic meditation on the societal flaws of modern-day Japan. Jun (Ryuhei Matsuda) is an effiminate gay bar employee who, after being sexually assaulted by a customer, brutally murdered his attacker in a fit of rage. Shiro (Masanobu Ando) is a brutish, heavily-tattooed thug whose combative nature has resulted in too many run-ins with the law to count. When both men are imprisoned for murder, Shiro's undeniable charisma and intensity draws Jun like a moth to the flame. As the two men learn from behind bars to open up and accept one and other for who they really are, a warm bond begins to grow that finds each man confiding his innermost secrets with the other and Shiro taking an almost paternal interest in his fragile young friend. When a confrontation erupts in the common area of the prison and one inmate strangles another to death, the guards are shocked to find Jun sitting on Shiro's lifeless body. ~ Jason Buchanan, All Movie Guide

A murder investigation takes a number of unexpected and unsettling turns in this suspense thriller from Japan. Nango (Tsutomu Yamazaki) is a prison guard moonlighting as a detective as he investigates the case of Toru Kihara (Kankuro Kudo), a petty thief who ten years before was convicted of a multiple murder he claims he can't remember. Toru's lawyer Sugiura (Tsurubei Shofukutei) hires Nango at the request of a nameless client who wants to see Toru cleared, and Nango brings in Junichi Mikami (Takashi Sorimachi) to assist him; Nango met Junichi when the latter was serving time for manslaughter, and Nango wants to give the young ex-con a chance to start over. However, as they dig deeper into the case, Nango discovers several disturbing parallels between the crime for which Toru was convicted and Junichi's own record; he becomes especially alarmed when he learns Junichi was near the scene of Toru's alleged murder. ~ Mark Deming, All Movie Guide

In 1994, nerve gas was released in the Japanese city of Matsumoto, which led to the death to the death of seven people and severe illness in several hundred others. In time, the attack was proved to be the work of a fanatical religious cult known as Aum Shinrikyo (who were responsible for several other terrorist attacks), but in the initial rush to determine who was the culprit, a man named Toshio Kanbe was accused by the press of the crime, and the widespread scrutiny turned his life into a shambles, even though it was later proved that he was innocent of wrongdoing. Nippon No Kuroi Natsu -- Enzai is a drama that looks at Kanbe's story, as it is researched by a pair of high school students. Makoto Sasano (Kiichi Nakai) is the producer of a popular television magazine show, News Express, who assigns three of his best reporters to cover the gas attack in Matsumoto; one of the young reporters files a story claiming that the gas in question could be easily manufactured with common ingredients, and it's discovered that Toshio Kanbe (Akira Terao), the man who first reported the gas, has most of the ingredients in his home. Kanbe vigorously proclaims his innocence, but continued reports by News Express reporter Koji (Yukiya Kitamura) call his honesty into question, even though Sasano and his staff discover that their earlier story was false and that it would be all but impossible for the gas to be produced by anyone but an expert. Nippon No Kuroi Natsu -- Enzai was screened at the 2001 Berlin Film Festival. ~ Mark Deming, All Movie Guide

Takashi Miike takes a dime-a-dozen yakuza script and turns it inside out in this high-octane surrealist crime action thriller. The film's first ten minutes is a breathless montage depicting a naked woman clutching a bag of cocaine being thrown off a high-rise, a porcine Chinese gangster devouring bowl after bowl of noodles before getting whacked, a tinsel-wigged stripper in mid-grind, another Chinese gangster having sex with a guy in a pubic bathroom, clowns throwing knives, and the world's longest cocaine line. Welcome to planet Miike -- one that seems unnervingly like reality but just tweaked enough that the viewer believes almost anything can (and does) happen. What follows is a tale pitting narcotics cop Jojima (Sho Aikawa), who has an ailing daughter and a neglected wife, against Ryuichi (Riki Takeuchi), a Chinese-born gangster sporting a hairstyle that would make Wayne Newton jealous. As Ryuichi tries to muscle in on a big drug haul from Taiwan, those closest to him get killed -- particularly his whey-faced younger brother and girlfriend (the latter meets a particularly grizzly end at the hands of a sadistic scat-enthusiast yakuza). Likewise, Jojima, who is on Ryuichi's tail, looses his partner, his wife, and his daughter. Soon the two are on the road to a literally cataclysmic confrontation. ~ Jonathan Crow, All Movie Guide

As the Japanese studios were declining in 1969, four legendary directors from that country's "golden age" of cinema -- Kon Ichikawa, Masaki Kobayashi, Keisuke Kinoshita, and of course Akira Kurosawa -- banded together to start their own production company. The financial and critical failure of the studio's first feature, Kurosawa's Dodes'ka-Den (1970), scrubbed all subsequent projects. One of the shelved works was this film, which was adapted by the quartet from Shugoro Yamamoto's "Diary of Town Magistrate" and was originally going to be directed by all four masters. With the passing of Kurosawa and Kinoshita in 1998, directing duties of this almost forgotten script fell to the group's sole survivor: 85-year-old Ichikawa. The film centers on Koheita Mochizuki (played by charismatic leading man Koji Yakusho), a samurai selected by the regional lord to be the magistrate of the particularly lawless district of Horisoto, a place where three such officers disappeared. This appointment arouses more than a little curiosity from the locals; Mochizuki's reputation for liquor and general licentiousness has earned him the nickname Dora-Heita, or "alley cat" (meaning "playboy"). In fact, Mochizuki has carefully cultivated his debauched persona, as he quietly tells his friend Senba (Ryudo Uzaki), who works as district administrator. He exhorts his pal to keep the rumors circulating. When the venerable district council -- who is aghast at Mochizuki's slatternly appearance -- almost votes to remove him, Dora-Heita reveals the lord's signed letter of endorsement giving him absolute authority. His first task is to clean out three powerful gangs who control Horisoto, keeping it awash in prostitution, extortion, gambling, and murder. Though samurais are forbidden to sullen themselves with such riff-raff, he boldly ventures into the prohibited brothel quarters and plays up his libertine persona in order to suss out the real criminals. In the process, he profoundly offends a band of right-thinking young samurais who soon plot to assassinate the heretical Dora-Heita. With almost everyone in the area out to get him, Mochizuki's life is further complicated by the appearance of geisha and former mistress Kosei (Yuko Asano), who demands that he take her back. Told with a sly sense of humor that was common to all four directors, this film is directed with a muscular dynamism that recalls the best of the samurai movies of old, such as Yojimbo (1961) and Harakiri (1963). Dora-Heita was screened at the 2000 Berlin Film Festival. ~ Jonathan Crow, All Movie Guide

Shinya Tsukamoto's latest work is a bit of a departure for the director of such over-the-top cult films as Tetsuo: Iron Man (1989). Though punctuated by his trademark kinetic camera work, this moody gothic horror film has the sort of brittle formalism more common in Japanese domestic dramas of the 1940s and 1950s. Dr. Yukio Daitokuji (Masahiro Motoki) is a well-to-do doctor living in a wealthy neighborhood located near a shantytown. He lives in a gorgeous old house along with his father, mother, and beautiful young wife Rin (Ryo). The couple seems happy, but Rin's lack of a past, due to amnesia, is a source of anxiety for the socially conscious doctor. The rigid respectability of the couple's upstanding bourgeois life shatters when a bizarre rag-wearing man kills off Daitokuji's parents in sudden and gruesome manners. The terror gets ratcheted up a notch when the mysterious assailant throws Daitokuji into a deep well on the family grounds and then reveals himself to be physically identical to the young doctor. The stranger assumes Daitokuji's identity by making passionate love with his wife and threatening to kill his patients. Tsukamoto brilliantly juxtaposes the oppressive opulence of the upper class, characterized by deathly silences and Kubrick-like compositions, with the grubby, desperate world of the slums, whose residents could have populated The Road Warrior (1981). While Tsukamoto's fascination with revenge, doppelgangers, and male rage, as seen in Tokyo Fist (1995) and Bullet Ballet (1998), are clearly present in this work, it also showcases the director's growing stylistic maturity. This film was screened at the 1999 Toronto Film Festival. ~ Jonathan Crow, All Movie Guide

The oft-filmed life story of Sada Abe -- a courtesan who killed her lover during lovemaking and then cut off her favorite organ as a keepsake -- has been the stuff of legend for over 60 years. In Nobuhiko Obayashi's 1998 adaptation of the same story, he went for a less explicit, more postmodern tact; this film tries to get to the roots of Sada's motives. Born into a poor and lonely childhood during the beginning of the 20th century, Sada (played by television star Hitomi Kuroki) is raped at the age of 14 by a thuggish college student (Masaku Ikeuchi) but saved from further degradation by Okada (Kippei Shina), a mysterious medical student who sports sunglasses and a long black coat. She falls for him, but unfortunately Okada has a dark secret; he has leprosy. Just before he departs from society to go to an asylum, he carves out an imaginary heart from his chest with a scalpel and gives it to Sada. Unable to get over the heartbreak of losing her true love, she becomes a prostitute. At age 29, she becomes the lover of a wealthy civil servant named Tachibana (Bengal) who buys her out of prostitution and apprentices her to a teahouse. There she meets Tatsuzo (Tsurutaro Kataoka), with whom she discovers a passion that she never found in the arms of her thousands of johns. When his wife learns of their tryst, she kicks Sada out. Soon Tatsuzo -- who abandoned his wife -- and Sada are holed up in a dinky apartment as sexual fugitives. Feeling like he has lived all he needs to live, he encourages her to pull the chord across his throat as part of a kinky sex game. This film won the International Film Critics Prize at the 1998 Berlin Film Festival. ~ Jonathan Crow, All Movie Guide

Kazuo Kuroki's Ronin-Gai transpires during the final years of the time when samurais figured prominently in Japanese society. The title town is filled with prostitutes and samurai who have been disgraced. The hedonistic warriors are presented with the possibility of redemption when the women of the town are threatened. ~ Perry Seibert, All Movie Guide

To research this ethnographical documentary about life in a small Japanese village, the director spent thirteen years living there, doing extensive research and conducting thousands of interviews. Almost four hours long, the filmmaker's approach tends to favor accuracy over entertainment. The movie begins with an extensive overview of rice-planting and only then discusses the relevant mythologies which govern that and much else about the residents' lives. At one point, the villagers re-enact one of their important myths for the filmmaker, who comments on what is happening and leads the transitions from one stunningly photographed scene to another. ~ Clarke Fountain, All Movie Guide

This drama is based on the experiences of celebrated novelist Kazuo Dan. Kazuo Katsura (Ken Ogata) is a writer, with a wife and six children, who indulges in booze and extra-marital affairs. When he takes the flighty actress Keiko (Mieko Harada) as his mistress, Kazuo's long-suffering wife Yoriko (Ayumi Ishida) leaves him. The author must endure the situation he has set for himself as he suffers through arguments in between his sexual encounters. ~ Dan Pavlides, All Movie Guide

This feature is the directorial debut for film critic and writer Masato Harada. Dan-san (Takuzo Kawatani), a young man who is obsessed with movies and women, offers a hilarious impression of Marlon Brando and makes friends with movie maven Shuma (Naohiko Shigeta). Shuma becomes infuriated when Dan-san attempts to interfere with his romance with the low-life gutter girl Minami (Atsuko Asano). The director shows his obvious affection for the styles of gangster films, tawdry saloons, and pop music, with more than a passing nod to Martin Scorsese. ~ Dan Pavlides, All Movie Guide

The snooping landlord of a rundown Tokyo boarding house witnesses a grisly murder that sends him spiraling down the path of madness in this classic Japanese shocker based on a story by famed author Edogawa Rampo. The year is 1923. Goda is the owner of a Tokyo boarding house populated by a motley collection of shady characters. He spends most of his days up in the attic, spying on his tenants through a series of holes drilled in the ceiling. One day, Goda spies a prostitute murdering one of his tenants and immediately begins to feel as if the woman is his soul mate. His perverse obsession quickly taking over every aspect of his life, Goda soon decides to prove his love by committing an act of murder so heinous that the object of his affections will be powerless to deny his undying devotion. ~ Jason Buchanan, All Movie Guide