Kuronezumi (クロ ネズミ, Black Rat). Directed: Kenta Fukasaku; screenplay : Futoshi Fujita; interpreters : Yonemura Misaki, Hiroya Matsumoto, Rina Saitou; duration: 76 '; first : June 5, 2010
score ★ ★
The mouse is the first animal of the zodiac associated with the abundance of ancient rice harvest, those born under the sign of the mice were thought to be taken to make good money ... Kenta Fukasaku chose the animal symbol of his films is no coincidence, it seems, because it is a work rich. Of deaths and surprises, not least, like any self-respecting horror.
The story begins - significantly after introduction of a horror bloody and battered body that you drag to escape her attacker - a text message received by a group of six students from Asuka, and their companion friend, who committed suicide. The message invites you to meet at one o'clock at night in deserted classrooms of the school. The boys are to welcome the appointment a person wearing a disturbing mask rats and that will make them the subject of fierce attacks and for the most deadly, in order to implement an unspecified revenge of the dead girl.
Throughout the movie are part of the narrative structure of many flashbacks that deepen the relationship between the boys. Why rats? Because they are part of a nursery rhyme (a little 'to the Agatha Christie ...) and Asuka, the naïve friend would have wanted to stage for the school party. Asuka was not a girl like the others, had a perpetual smile so much as it is disturbing and often isolated from the group was on his way too naive and a little 'left to stand.
The flashbacks bring into light the deep feelings of loneliness and the difficulty of inserting a person substantially "Different."
comes to mind then that even a film like Kuronezumi - at first quietly nestled in the genre "horror among students" - will emerge some trace of that criticism against the company (Japanese) who had large (and discussed) one of the last film of the father of Kent, Kinji Fukasaku, namely Battle Royale (2000), written by father and son together, which was then followed Battle Royale II: Requiem (2003), co-directed by Kenta.
There was the theme of the repercussions of a violent system that is passed down from generation generation, hence the loneliness and emptiness of the soul of young Japanese are incapable of effective relationships with the group around them, at ease in staging an 'appearance' of relations.
The naive girl arrives with a smile facade - she herself admits that her smile is not tied to being really happy - that troubled the rest of the group, you are ridiculed and isolated and will eventually kill; Fukasaku offers a fast and continuous change of identity, it is difficult to understand who is actually there under the guise of mice. Reports of the facade, they said. Even the characters that the director sets are almost caricatures: the handsome, the girl pretty bored, the scholar ...
The framework proposes that the director of the young generation of Japanese is desperate.
Some sequences are, in my opinion worthy of note, for example those in which the camera leaves the scene of the action and wander along the deserted corridors and dark. Or the assembly sequences, offering different images in succession: the sky, a metal fence, a bucket with a flower, a pigeon .... As if to give time for reflection, while the massacre - and the callous cruelty of society - are continuing their course.
chases, the memories, the plot twists that lead to the epilogue, in the best tradition, focuses at a glance. Almost a final "to Caligari" in Vienna: the look of the survivor / murderess / friend who is a sufficiently ambiguous smiles and thereby suspend the games, but leaves door open to possible further interpretations. [CB]
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