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HELLEVATOR:THE BOTTLED FOOLS (Japón, 2004)

Original Title: Gusha bindume not. Address: Hiroki Yamaguchi. Cast: Hiroki Yamaguchi (Luchino) Yoshiichi Kawada (Inagaki), Ryosuke Koshiba (Mitarai) Kae Minami (Nakaji), Yuuka Nakabô (Miyako), Ikuma Saisho (Viblio Sawatsukumori) and Yuuna Sotohara, Toshiko Sunamura, Yuuko Takarada, Masato Tsujioka, Hisashi Ueno. Duration: 97 minutes .

Symptoms: A series of matching characters in a long-distance lift in a dehumanized world. Each has its own dirty little secret to keep. In a moment of the trip, the elevator is required to move a couple of dangerous psychopathic murderers. The nightmare has only just begun ...

Diagnosis: Says Carlos Aguilar essential in Film Japanese fantasy and horror (1899-2001): " After the end of the 80's, the Japanese ... it's fantastique hijacked by neo kaiju and saiko hour (literally psycho horror) ...

De a priority, even
stuffy, warns the effect of the contemporary "culture of the apocalypse" American, in which coexist the gore and splatter, the trash and the slasher, the cyberpunk and cyberpup, the most diverse paraphilias erotic, sophisticated weapons, all kinds of sinister art, aesthetics postindustrial, anti-Christian religions and sects obscurantist, the psychokillers, the afterpunk, the gothik, macabre comic books, the new flesh, new metal ... all instrumental in the shadow of the bizarre .... "

rotation description wise proposition that the Japanese film making in the late s. XX, is, likewise, ideal for accurately portraying the title that concerns us. The first thing that strikes care "Hellevator: The Bottled Fools" retro aesthetics is immediately sent to this Terry Gilliam masterpiece Brazil called (1984), like this, pessimistic, apocalyptic fable showing us a world dehumanized, a dictatorial society dyes where fundamental rights and the presumption of innocence is trampled on fragile wings of a small security torpedoed by terrorist factions (remember certain inescapable modern societies in the name of democracy used methods close to those that say fight).

Done this point, it is fair to note that the similarities to end there Gilliam film. And is that the messages and budgets with moving both films are radically different. Indeed, one of the greatest merits of the director of The bottled fools is the superb performance offered by the low budget film, shifting the bulk of the action within one of the huge elevators, trams as a vertically (one of the most innovative aspects of the film), serve as transportation for the inhabitants of this dreary, claustrophobic and hyper-industrialized city.

addition to these elements, as well Aguilar pointed words at the beginning of the review, other constants in the new Japanese fantastique: teenage schoolgirl outfits, psychokillers grandiñolescos and the peculiar treatment of a exacerbated gore that often leads to bizarre or directly on the grotesque. The film is disturbing for several reasons: some gruesome details (that murderer speaking backwards), the constant presence of blood (and we all know they are spending there when it comes to showing the red element) and mainly the inability to identify with any of the roles (Luchino, wrapped in her traumatic past, is far from being a positive character, despite his star status), which further contributes to the discomfort of the viewer, who never knows what position to take in the plot which, ultimately, may also pose a serious handicap.

But the biggest complaint one can give this special title, as I have guessed the most seasoned fan, is your story too long condition that combines the strengths and sequences undoubtedly impact many downtime, repetitive scenes and situations that lead to absurd, not by the very condition of narrative as a betrayal of the internal logic of this, not unusual in novice filmmakers and writers as is the case.

However, a minor sin for an interesting film, a parable that transcends pure nihilistic pessimism, with a predictable outcome that is not less appropriate to close his speech.