Shinya Tsukamoto’s former assistant director Shozin Fukui’s feature length debut was a labor of love; made with shoestring budget and filmed mostly in guerilla style due to lack shooting permissions, it took a year to finish the movie. The stories behind the film are fascinating and even heartwarming – the director distributed self-designed posters on the streets, and even operated the improvisational audio system in the single only theatre that played the film because he couldn’t afford to hire a professional. It soon became underground phenomena, and the three day test run was extended to 10 weeks and nationwide tour. The film itself – categorized as industrial noise punk – is an opinion divider like all true punk films ought to be. Pinocchio is a sex slave android kicked out on the streets by a disappointed customer. He finds a new owner from a punk girl, but Pinocchio’s creators wish him no good. To make matters worse, his mind is about to explode! After a promising opening the film turns into an endless screaming rally constructed of remarkably long scenes. For strictly selected audiences only. Clever ending and fantastic closing credits song reward the patient viewer, though.
Rubber’s Lover (Japan, 1996) – 3.5/5
The second feature length movie by Shozin Fukui is one of the seminal Japanese cyber punk films. It’s also one of the scariest movies ever made. Shot in black & white – apparently because Fukui thought the rubber suit looked silly in color – and clearly demonstrating the director’s eye for visuals, it’s a story of two mad scientists trying to unleash the psychic powers inside a human body through extreme physical pain and specially developed drugs. Rubber’s Lover will divide its audience with a butcher knife; if you can take the frenzy editing and constant yelling it will be an experience to rip your heart out. If not, you’ll be likely to turn off after 10 minutes. Fukui does, however, have his tranquil side as well, creating one mesmerizing mood scene in the middle of the violent and occasionally borderline pretentious mayhem. The ending feels a bit stretched, though, lessening the film’s remarkable intensity.
S-94 (Japan, 2009) – 3/5
Underground favorite Shozin Fukui returns to his roots with this post apocalyptic cyber punk tale. The 30 minute film is set in the future where humans have become almost extinct due to a virus epidemic. Two women hide in an underground base, trying to contact other survivors by radio. Reportedly only the first chapter in Fukui’s end-of-the-world vision, S-94 is hugely interesting if almost equally flawed. The non-existent budget is decently well hidden, and the digital black & white cinematography looks very stylish. Acting, while certainly akin to Fukui’s punk cinema traditions, is more problematic. Nozomi Hatsuki doesn’t convince, and manga artist Yuko Tatsushima is downright terrible. The film’s ending will also divide audiences; some will see it as cheap shock, others as a powerful teaser of what may be coming later if the director’s planned follow ups ever see the light of day.
The music is good and the action is fun.
