You have got to prepare yourself for sharp tonal changes, if you are going to watch Japanese film-maker Tetsuya Nakashima’ (“Memories of Matsuko”, “Kamikaze Girls”) flicks. He presents dark, psychological dramas with visuals that are stunning and innovative (reminiscent of his past career as music video director). Nakashima’s primary characters are emotional wrecks, one way or another. So, the narrative shift that comes off with the characters’ state of mind may often disorient the viewers, but his dazzling images and idiosyncratic approach may give his works a cult status. Nakashima’s commercial and critical hit “Confessions” (aka “Kokuhaku”, 2010) is more subtle than his previous works. It portrays the overpowering fear, the Japanese society possesses over its younger generation.
The lack of understanding the teenagers (or teen angst) is
one of the most universal themes used in movies. However, Japanese cinema takes
a unique approach to deal with this universal theme. “Battle Royale”, “Suicide
Club” brought intriguing and dark ideas about the lack of connection between
grown-ups and teenagers. “Confessions”, based on the stylistic novel by Minato
Kanae, is one such anarchic, psychological thriller, where redemption and mercy
doesn’t exist. The film starts with a prolonged monologue scene, where a seventh-grade
teacher, Yuko Moriguchi's (Takako Matsu) dispassionately addresses her class. The
rowdy students become more jubilant when the teacher announces that she’s going
to quit. As a farewell speech, she wants to talks about the value of life.
Alas, this isn’t an inspirational speech. As she is
talking to the class, the students ignore her as usual, drinking the distributed
milk cartons or chatting and texting. Moriguchi recollects how her 4-year old
girl died in drowning accident. However, she informs the students that her
child’s death is not an accident, but a murder. And, declares that the murder
is committed by two students in the class. She names them ‘A’ and ‘B’, and goes
on to describe their actions. She also explains (with examples), how atrocious
crimes committed by teens goes unpunished under the Japanese law system. The
students are easily identified as Moriguchi gives their character sketch.
One student is a science prodigy, Shuya (Yukito Nishii), who has started
killing animals at a very early age. He is a loner and has never got love from the
parents. He is also a good manipulator and seems to lack a conscience. Student
B, Naoki (Kaoru Fujiwara) lives with overprotective mother and has no friends.
He is little naive and comes up with a deadly scheme of hurting 4-year child to
impress his newly found friend Shuya. Moriguchi couldn’t prove the students’
guilt and even if it’s proven there would be no fitting punishment. At the end
of her farewell speech, Moriguchi coolly announces that the milk cartons drunk
by A and B have been tainted with her husband’s HIV infected blood. However, this
isn’t her revenge; it’s only a first step in attaining her vengeance. The rest
of the film unfolds from the multiple perspectives, taking us back and forth.
Nakashima’s
directorial abilities are at peak level in the daring, 25 minute opening monologue.
It’s a little risky to open a commercial film with such a lengthy lecture, but
the director perfectly maintains the air of suspense. The shuffling script
makes many thought-provoking observations on bullying and emotional strength of
teens. The character depictions are believable to a level, and each confession brings
us closer to the characters, helping us to understand the reasons behind this
cruel behavior. In terms of bleakness and chaos, the film surely ranks
alongside Park Chan Wook’s “Vengeance Trilogy”.
From a visual perspective, Nakashima has fully departed from his
riotously colorful palettes of previous works. Gray skies, blue and gray shades
in the classroom, and various types of dark shades reminisces the works of
David Fincher. Although Nakashima has changed his color schemes, he once again
integrates his trademark stylish, slow-motion shots and ethereal musical score.
Some of these cuts provide a subdued beauty, while some serves as a
distraction. Moriguchi taks about the importance of life and redemption, but
she eschews the themes of hope by her brutal actions. This might make the
viewer to see her character as contradictory. But, Moriguchi’s lecture on life,
redemption, and optimism only seems to be a means (or a deception) to take the
final stab at the culprits (the fina line “Just Kidding” seems to echo this
belief).
The twists and turns after the initial confession become
overwhelming at a point. The final act craftily does the ‘pulling rung under
your feet’ thing, but it also exhausts the empathy we initially possess for
Moriguchi. The way she psychologically exploits the teenagers (especially the
innocent misfit Mizuki) makes us detest her motives, but may be it’s also
intended. These behaviours may reflect on how the vengeful feelings may turn an individual into a monster.
“Confessions” (106 minutes) is a gripping thriller, set in the
abstracted, empathy deficient adolescent world. It’s cynical, dark subject
matter, and flashy, devastating images may not suit for all viewers, but it
sure gave me an exhilarating movie experience.
Trailer
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