Inugami

I can't really make a fair comment on this film as I wasn't giving it my full attention, and I gave up on it halfway through.

I liked the way it looked, the mystery, and the exploration of Japanese traditions, history and equivalent of karma. These are all rolled in quite nicely with the horror, in this movie.

Though it seemed like it had a lot of threads, I followed the main ones very easily. There were some threads which I couldn't follow at all, and that's probably why I gave up on it.

Again, I wasn't giving it my full attention, and I'm not a particular fan of horror, so it may not be the film's fault.

Yes, this beautifully filmed fable would have delighted Sigmund Freud. If you are really uncomfortable with the theme of incest, albeit unwitting, do not watch this movie, because it is central to the plot. As in Oedipus Rex, a grim fate hangs over and destroys the hapless characters involved. It is fascinating to watch this archetypal drama playing out in the context of a superstitious Shinto world view.

But this is not the only theme driving this complex drama. The interplay of the traditional and the modern is consistently in the forefront, and the film sees the good and the bad in both. The irreplaceable art of Japanese paper-making, which is shown in some detail, comes out of the same traditional culture that fosters destructive superstitious beliefs. Similarly, the forces of "progress" and modernity work for both good and bad purposes. A plan is afoot to cut down the beloved forest to make way for a big modern country resort, destroying what is good in the traditional culture (including the paper-making art); and yet the modern spirit of reason seems to be the only hope for freeing these villagers from the destructive superstitious beliefs that enslave them. The traditional world of Shinto is full of ghosts and deities, of beauty and horror, and it does not easily coexist with modernity. Nothing is simple here.

These are some of the themes at play in this complex fable. The film invites repeated viewings. There is much to see: it is very beautiful, and the acting is excellent. It is full of surprises, and is highly entertaining. When you watch, be careful to note the family connections of the characters. The family tree is important. Director Masato Harada has created something memorable and unique, and it cannot be easily classified in one genre or another.

This is a drama-fantasy about two Bonomiya families in the computer age, shunned by villagers because of the legendary curse of the Inugami (wild dog deities), supposedly borne by the women. It focuses on gentle spinster Miki Bonomiya (Yuki Amami). Her mother Tomiè (Shiho Fujimura) quietly/firmly rules the 'lower home'. She and surly/Internet-wise brother Takanao (Kazuhiro Yamaji) are strong believers of the curse. Miki and her younger sister Rika (Myu Watase) refute the curse. Takanao's oft-battered wife Sonoko (Shion Machida) and their children are innocent bystanders. Seiji Doi (Eugene Harada), from the 'main home', firmly sides with Miki.

Dramatic changes occur after a new teacher Akira Nutahara (Atsuro Watabe) meets Miki. He is entranced by her skill in fine paper-making (for calligraphy) and her placid beauty. Miki becomes suddenly youthful and sensuous as they begin a passionate affair. Villagers begin to gossip about their affair. Then, tension mounts as tragedies in the village are blamed on the curse of Inugami and long-hidden secrets, involving Miki and Takanao, are slowly revealed. The culmination is the annual ancestral Shinto rites in which Takanao decides on Miki as the human sacrifice to appease the dog deities.

Yuki Amami played the male roles in the decades-famous all-women Takarazuka Revue.

I recently watched the Japanese film 🇯🇵 Inugami (2001) on Shudder. The story follows a schoolteacher who relocates to a quiet town, starts a new class, and begins a romance with a local woman. His new love interest, however, comes from a family with a mysterious past-one he initially brushes off, until strange occurrences begin to unravel both around him and throughout the town. Soon, he starts to question whether the old rumors might actually be true...

Directed by Masato Harada (Gunhed), the film stars Yûki Amami (Countdown), Shiho Fujimura (Zatoichi's Cane Sword), Atsurô Watabe (The Flowers of War), and Makoto Togashi (Cure).

This is definitely a film that won't be for everyone. It's a slow burn, with an eerie atmosphere and unique story elements. The world is well built and immersive, but the pacing can drag, and there's a sense that more could-and should-be happening. On the plus side, the corpse effects are creative and the autopsy scenes are particularly imaginative. The setting, especially the family home, becomes increasingly sinister as the film progresses, and there are some genuinely unsettling moments as the mystery unfolds.

The conclusion ties the mythology and plot together in a satisfying way, though it would've been stronger with a more engaging buildup.

In conclusion, Inugami offers enough intrigue and atmosphere to keep you curious, but not quite enough action or momentum to stand out in the genre. I'd give it a 6/10 and recommend it only if you're in the mood for a moody, measured supernatural drama.

The summary could seem right hadn't I seen 12 movies this weekend at the Fantasporto film festival. And Inugami was quite frankly the most odd, slow, and incomprehensible of all. Don't ask me why, I came out like I stared at a wall for two hours. Even when I tried to make some sense of it, nothing worked. In its essence, the movie talks about a family whose women are cursed. But perhaps it's me, the story is quite difficult to follow. The people seem to wander around, I didn't understand any of it. But I respect it, afterall there are people who liked it. Anyway, luckily they won't catch me seeing this one again.