Kuru

Horror dramático sorprendentemente complejo (sobre recién casados que van a tener un bebé), que interpreta a los demonios inquietantes como traumas de la infancia y la paternidad, y como algo que inventamos para culpar como excusa de nuestros propios errores. Pero también contiene un demonio real que hace pedazos a las personas y las convierte en fuentes de sangre. En una historia ramificada, cuyos protagonistas mueren gradualmente y los héroes toman las riendas, los personajes secundarios a menudo saltan en el tiempo y entre varios planos de la trama (además de pasajes de ensueño, alucinaciones y visiones del mundo de los muertos), con énfasis en los personajes y razones psicológicas por sus acciones. Lo más destacado es la conclusión con una fantástica escena de exorcismo, a la que asisten una decena de exorcistas, una decena de monjes y media docena de bailarines, pero el gran obstáculo es el exceso de combinación, demasiados personajes y motivos y un estilo de narración disperso que no le permitirá asimilar el contenido mostrado. (07.10.2019)

I found it more of a critique of society than a horror film. Sure, it's got its antagonist, it's got its deaths, it's got its suspense and fear, it's got amazing imagery, it's got great cinematography, but underneath it all it just seems to be beating the drum of social criticism along the lines of actually raising a child vs. look how well we're raising our family/ how great our family is doing. It struck me that the author is basically saying, and literally showing, that all posers and internally corrupt or empty people need to be gotten rid of. Though of course through the characters he is saying that the poser may not mean it, that they can't "find fulfillment". It's simply a film that has several layers and is also divided into three parts. It has so much it wants to say that it doesn't have proper space to do so, despite its relatively long running time. It's a Nakashima that has accumulated a lot of ideas from Confessions that he wanted to vent. But he vented them quite impressively. As I've written before, the cinematography is great and takes an ordinary horror film somewhere further, the final exorcism in particular is very impressive and I like how there's a mix of Shinto and Buddhist rituals along with Korean shamanism. There are just a number of perspectives to explore in this film and it's definitely interesting. It works as a horror movie, as social critique, and as a visually evocative film. But it's clear to me that getting it all together is not for everyone. (10.05.2021)