Reviews

Six boys are all that stand between Earth and annihilation!

Not long ago I read that Invasion of the Neptune Men was one of the worst films ever made. Man, whoever wrote that has not seen very many films. Actually, there is a dubbed, shortened version that was shown on Mystery Science Theater which seemed to be the one most reviewers had watched. Now the subbed version is no award winner, but for a children’s movie it was watchable. People hoping to see Sonny “Street Fighter” Chiba will also be disappointed. This was early in his career when he was around 22. The film was bonkers funny with aliens in bullet shaped welders’ helmets and Sonny driving a car/fighter plane/spaceship that squealed tires on grass. This film focused on 6 young school boys and may or may not have been a figment of their imagination.

Six school boys who hero worship scientist Dr. Tachibana are out looking for satellites with their telescope. Given that it’s daytime, you’d think they wouldn’t have much luck. Ah, but luck favors the prepared for a spaceship lands not far from them. Completely unafraid they check the ship out and are soon surrounded by aliens! Luck smiled on them again when superhero Iron Sharp comes to their rescue and puts a karate beatdown on the interlopers. The aliens initially attempted to start WWIII by causing suspicion between countries. At first no one believes the boys but the aliens from Neptune soon make their nefarious plot to take over the world known!

Despite obviously being a film aimed at children there were some disturbing images. The aliens blew up a nuclear reactor creating a mushroom cloud that had to invoke terrible memories for some original audience goers. There were several deaths as well. But when the aliens blew up the Hitler Building I was ready to reassess my opinion of them. Maybe they were just misunderstood? Then they went on to blow up buildings everywhere and took aim at those meddling kids. The events might have been in the boys’ imagination for two different reasons. The boys were allowed into every building and secure location, usually the first to come into contact with the Neptunians. Iron Sharp knew when they needed him and showed up with his vehicle armed with laser weapons. He also happened to be the hero the boys had dreamed up. Or maybe the scientists and military just had really, really bad security and Iron Sharp was omniscient.

If you are looking for captivating entertainment, this is not it. However, it's also not the worst movie ever made. Invasion of the Neptune Men could have used more menacing aliens and more competent adults, but for 70 minutes there was plenty of spaceship action and things being blown up. Robby the Robot even made a quick cameo. I’d void the truncated, dubbed version in favor of the subbed original if you decide to watch it. (Graded on a curve)

25 October 2024

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story about acceptance

Overall: this is a short movie (35 minutes plus behind the scenes) about self acceptance. I gave it an indie rating bump as it hovered between 7.5 and 8 for me. Aired on Wayufilm's YouTube channel https://www.youtube.com/watch?v=kO_pyd0B19Q&ab_channel=WayufilmProduction

Content Warnings: one that's a spoiler (see my spoiler comment), homophobia, bullying, non con picture/video taking and sharing

What I Liked
- the theme of where acceptance should come from
- clever names with Mek and Up (sounds like Makeup)
- Mek was supportive

Room For Improvement
- unrealistic with total strangers walking up and taking selfies (let me know if this happens in Thailand in real life and I'll delete this)
- needed a little more relationship development, what made them love each other
- the off screen panting went on too long, perhaps there is a missing NSFW scene for channel members

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Here's one of the cases where I would be overjoyed if I could post a review without having to give star ratings. Because I can see that the story and the characters are well written -- I just couldn't connect with any of them. So, please take the star rating for "story" and "overall" just as a placeholder.

I haven't read the manga, and haven't watched the anime adaptation, so this is solely for the movie.

First, what I liked:
As usual with Japanese productions, the use of light and colours was exceptional. It's especially noticable in Kaizaki's old workplace, where drab greys dominate -- and the light is changed according to the mood of the scene.
I also liked how background music was only used very sparingly.
The ending was also well done -- we really don't need more than the "ano" at the end. We had been told that they will retain their memories. so anything more would be redundant. I also would have liked if the film had ended after Yoake had left his reports on his desk. We don't need to be told everything, we can think for ourselves sometimes.

I don't mind so much that the six characters stay relativly bland. In a film with a runtime of two hous, there will be limitations. I do think that the other subject could have had a deeper backstory -- or the writer could have committed to only focus on the main protagonist Kaizaki and his journey of change.
Even so, none of the characters' stories managed to capture my interest -- except for Yoake, whose story I'd really like to hear. (Really, I think he is the most fascinating one, and *his* story of change, what he feels and thinks when he, the one who is supposed to be the unemotional observer, begins to like his subjects? *That* would have been interesting.) For a story about character development, it is a huge minus that I feel kind of meh about the main characters.
I can imagine that other people can relate more to Kaizaki's struggles and the story of the last year at school and their message of "Treasure the Now" than I do, so this is extremely subjective.

For me, I wouldn't have missed anything if I hadn't watched the film, but it wasn't so bad that I regret it either.

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Que surto foi esse?

Confesso que não esperaria de uma produção coreana como vi nesse filme, kkk me pegou completamente de surpresa.

Não tem nada explícito, até demora pra ter um beijo. Então se quiser ver algo caliente, esqueça, kkk. Confesso que em alguns momentos senti vergonha de assitir algumas cenas, a sorte que estava vendo sozinha.

Não possui um enredo fabuloso, mas tem uma temática diferenciada. Gostei pois abordou o lado desse estilo de vida não chegado apenas numa conotação sexual.

Aplausos para a atuação dos protagonistas! Souberam de fato se jogar.

É um filme leve, com um toque de comédia e drama pra passar numa tarde.

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I dropped it

Absolutely hated it, it was heavily focused on the family which yes I understand they are the main characters of the movie but I was expecting a different sort a film. It focused on the families issues especially between the married couple, straight out the gate you can tell the married couple hate each other and you don't see what happened to them before they reach the husbands family home when they escaped wherever they just escape from when the zombie out break happened. This annoying issue between the married couple continues to play out throughout the film before I dropped it.

I really wanted to like this film due to the fact it's a zombie film from the Philippines and I've never seen a zombie film from that country before. I was excited to to see what filming style they where going use how they would portray zombies in the Philippines, I found it so unique that the zombies could actually talk more like from what I'm guessing was their last words before turning into a zombie, but the film was solely focused on the tension between the married couple and their 2 sons.

The husband is extremely traumatized over whats happening for good reason but he starts to become controlling and doesn't want to leave his childhood home despite the fact his own father physically, mentally, emotionally and probably verbally abused him growing up, which makes him absolutely terrified of the basement which we can assume as the audience his father would lock him up down there as a child, even though he has this server traumatic event that happened to him he refuses to leave and find somewhere else to go just in case they could find a better place to live especially for his two children.

Both adults are extremely unlikeable especially when you find out they have been both cheating on each other and what makes things worse the wife cheated on her husband with her husbands brother and had his child. So it made the man playing the husband constantly treating his nephew who he is raising like his son like crap. I really disliked how he was towards his son/nephew because it wasn't his fault to who his father is but that didn't stop him from treating the child horribly, he was essentially sorta becoming like the man he hated his own father. The poor boy didn't know his uncle was his dad but you could tell he started suspecting when his younger brother mentioned that he looked liked their uncle when he was younger when they both were looking at his dads family album.

I stopped watching when they uncle appeared not because he showed up just because I had already mentally checked out of the film. I was really hoping to see more zombies & action but right before I dropped it there wasn't that much and it probably picked up after the uncle arrived but I just stopped caring when they family went to the bridge to give it a try to leave and find somewhere else to go and the wife almost go everyone killed.

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"It's tough to discipline a grown daughter"

Not one but two magic mirrors were the unholy desire of the Nine Souls Witch in The Devil’s Mirror. Two friendly clans were turned against each other as the Bloody Souls Clan double-crossed and sliced their way through righteous fighters in the hopes of serving the new ruler of the martial world.

Chief Wen and Chief Bai have discovered that the Nine Souls Witch has sent her minions to murder and thieve across the land. Numerous heroes have gone missing in recent weeks. Wen is concerned that she is after the two magic mirrors that would grant her access to Emperor Wu’s tomb where two powerful weapons are ensconced. Bai’s second in command, the Wormtongued Leng Yun assures his chief that there is nothing to worry about. Later that night the magic Wind Mirror is stolen from the Bai fortress. Leng convinces Bai it must have been the Wen clan as their badges were found on two of the dead assassins. Chief Wen’s son happens to arrive at that time to alert them that the witch’s minions are lurking nearby. When Leng tries to capture Wen Jian Feng, Chief Bai’s daughter, Xiaofeng, steps in with her sword to save the man she loves. The two young people will have to convince their clans to work together to retrieve the Wind Mirror and protect the Thunder Mirror for if the witch uses the two at the same time it could be devastating for the world.

I had to double-check to make sure this was not a Chang Cheh film as there were great Buckets O’ Blood spilled and spewing throughout this film. The sword fights were nearly constant and the red #2 finger-paint covered everyone. This was a typical 1972 film before all the special effects for fighting were developed though wire-fu was used as well as reverse filming. The Nine Souls Witch could fly and most of the time she didn’t look too awkward. The numerous stuntmen were what sold the fights as they twisted, flipped, and fell whenever the swords came near. They certainly got a workout in this action film.

Lau Dan and Shu Pei Pei were fine in their roles, but the characters came across as quite bland. Lee Ga Sai as the Jiuxuan Witch reveled in her maniacal laugh. If anything, they should have given her more meaningful actions to take instead of spending most of her time laughing or seducing men. The biggest and most welcome surprise was Wang Hsieh playing a good guy! He nearly always played an over-the-top villain in these kung fu flicks. Coincidentally, there were several fights at the SB 7 story pagoda and bridge where he once fought Cheng Pei Pei in The Lady Hermit (1971). Not only was he a good guy but was also rewarded with a significant fight of his own. Go Wang!

The Devil’s Mirror wasn’t a great name as there were two mirrors and a witch involved. One of the things I like about some of these Shaw Brothers films is that the character names are in the correct order and spelled correctly for the subtitles. I did wonder about the translation for the sword the witch wanted-the Fish Intestines Sword, but discovered that was one of the real names for it. Eww. Not only did the props guy have to buy red paint in bulk but also Buckets O’ Gold as nearly everything in the Emperor’s tomb was coated in gold paint!

The sets and costumes were all first rate for a 1972 wuxia. The Devil’s Mirror also offered magic, secret tunnels, torture, poison corpse pills, double-crosses, numerous group sword fights, and a nice surprise twist. If you enjoy old kung fu films, this is one to try. (Graded on a curve)

24 October 2024
Trigger warnings: Blood, lots of blood. Decapitation. Nudity.

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Battastically ridiculous!

The Golden Bat was a film with aliens, a rogue planet, laser weapons, a spaceship shaped like a shark, and a superhero golden mummy with a serious overbite. The science was laughable. The costumes were dreadful. And this was 70 minutes of silly fun.

A secret U.N. space institute has discovered that the planet Icarus is on a collision course with Earth. The rogue planet is being assisted by Nazo “Master of the Universe” who wants to be rid of Earthlings. At the institute, Dr. Pearl is assisted by the studly Dr. Yamatone and Yamatone’s boy wonder, Akira. Pearl has built a laser cannon capable of destroying Icarus but it lacks a rare mineral. Fortunately for Team Earth, one of their spaceships has crashed on an uncharted island. When the team goes to investigate, they come across a sarcophagus with a mummy inside dressed in gold lame. Holy coincidences Batman, the mummy is holding the mineral they need to save the planet! Turns out this risen island is part of Atlantis. The tomb directions read, “Ten millennia from now mankind will face a crisis. Open this sarcophagus and I, the Golden Bat, will awaken from my long sleep to fight by your side. Pour a drop of water on me.” Pearl’s granddaughter obliges and the Golden Bat comes to life. All Emily has to do is call his name and he will appear. Team Earth will need all the help they can get with a planet barreling down on them and Nazo’s minions attacking them from all sides.

If you have ever watched an old live action Saturday morning show for kids, this would be similar---albeit with more dead bodies. Apparently, the Golden Bat is one of the earliest, if not the earliest superhero dating back to 1930. This GB was invulnerable, carried a laser shooting baton, could fly and had a maniacal laugh. The evil Nazo’s costume looked like a big mouse with four eyes and a mechanical claw for one hand. He had three high level minions-Jackal, Keloid, and Piranha. Nazo’s spaceship was a giant drill shaped monstrosity while his cruising around ship was built like a shark. Sonny Chiba played a bearded scientist who spent most of his time shooting his laser handgun at aliens and wondering if his career was what was being destroyed.

The Golden Bat was not a high-quality production and the science was scarily bad. But it was so ridiculous that it was funny. In order to enjoy this movie, you will need an extremely high cheese threshold. Like Icarus high. Or be high. Graded on a curve.

24 October 2024

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The story of how destructive "male desire" can be ...

The main casting is very good but the direction makes the acting of the characters completely uninteresting. The film is very difficult to watch because the direction and editing are quite bad.
From an artistic point of view, I find the film interesting but I didn't like execution, there was a huge lack of sensibility but from a writing point of view, the film is much deeper than it seems. The writing is very subversive. There are a lot of scenes that I didn't understand, many things are honesly so confusing too ...

Those things being said, I would like to share my own interpretation of the story:

Sozaburo Kano is treated throughout the film by the characters and even by the director as an object of desire, what he can say or think don't matter, he is a simple object at the mercy of male desire. The simple existence of Sozaburo, well beyond his physical appearance, provokes in those men more than obsession but a desire to possessed and corrupt him for their own plessure. He has no say, the desire of men only sees itself.
At no time does Sozaburo, although displaying a constant coldness and apathy throughout the film, ever express his consent. Sozaburo is a victim whose silence is taken as an acceptance of everything that all these men project into him.

We see him very clearly being harassed by this male desire, but he seems not to react at all. He knows his reaction won't change anything. And he seems to not even be suprised but more used to this treatment. It feels like he learned to play with apparences since probably very young, to not only be the victim somehow ... The psychology of this character is truly intriguing, and his story is deeply tragic.

And yet, towards the end of the film everything becomes clearer. Sozaburo Kano is a much more complex than it seems. He hides his real skills, he pretends to be a worse fighter than he is yet we grasp the fact that he tries to deceive the men around him by playing along the role that this "male desire" has forced and imposed on him, precisely we understand that his goal is to use that desire against them.
I see in Kano's actions a fatality, and a silent passivity that is already beginning to investigate revenge.
What is fascinating is that we understand that his agenda is to reverse this narrative of prey/predator spectrum that this male desire has forced on him.

His silence, his coldness seems to be the result of his life spent having to deal with trashy mens whoa bused him, to know how to adapt through the desire of these monsters. And the only purpose for his pain to him, and the repeated injustice of these crimes committed against him seems to be v'olence. He say it early on in the movie, he was there to k'll.
Who Sozaburo Kano loved? No one I think. I believe he has let all those rumours around just to be able to move silently in his plan, he was playing along, but not in their game but his own.

Soji and Kano might have a certain mutal understanding somehow but I also believe Soji loved Kano... I think he might have k'll Kano out of jealousy, because he realized Kano had feelings for Tashiro somehow ...
Kano might have caught some feelings for Tashiro even if he was using him, because Kano seems to be unable to fight Tashiro properly which I believe indicated his probable tourmoil about him. Tashiro forced himself on him for sure but somehow Kano feels something for him .. not sure why or what, but I do believe there is a mix of different feelings, hating him but also having some affection for him (a sort of stockholm sundrome).

Before k'lling him, he asked his forgiviness ... yes, he used this to be able to k'll him but he used truth to be able to fool him, that's why Tashiro believed his words.
Soji pretended he couldn't hear what Kano was saying to Tashiro, but I think he did. His instant pasisonate jealousy led him to k'll Kano.
"This sort of thing has happened before. Hearts inflamed by passion ... It must not happen again."

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A misunderstood gem that's beautifully disturbing and depressing.

Where to watch :

https://www.youtube.com/watch?v=N4y74UaBIDA (English Subtitles)

Or here : https://mega.nz/file/hjUBWCTZ#TjkrmK0Gmwz8MhGmyGAaDm6TxxtK3lwTjRPpIz5bBKA -> You'll have to download the subtitles you're searching for on SubDL, then use VLC to open the video and add the subtitles. Or you can just download it from Avistaz (like me), the subtitles are also there but you need a client (I recommend Deluge) and an account.

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“I dedicated this movie to all the boys and girls who are now suffering, or have suffered, from puberty.” - This message shows before the film starts.

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Disclaimer: I didn't read the manga, but I know they had to condense 57 chapters into a 2-hour movie, which is a lot (obviously it can't be as detailed and the story will be shortened), and I’m aware there are differences. There’s also an anime, but it’s incomplete since it never got a Season 2. And before anyone complains, this as japanese as it could be, so expect it to be weird, bold and crazy (then that's what makes it so good, too). But it is epic and fascinating, nonetheless.

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This was an intense psychological mindfuck on my part. I've never had so much to say and I can't believe how much I felt in such a short time. It is not only deeply philosophical and heavy on psychological study (this is like the most I have seen even though it's only 2 hours) but also on a critique of Japanese society.

I loved it so much. I think they did really well with the pacing because I didn't ever get bored and I managed to get the psychology overall (which is nothing short of insane) and in the end, it is what all the story is about. Not to mention the cinematography, the poetic dialogue/storytelling, and the intense build-up. It’s a pleasure for me to see a reference to French literature with The Flowers of Evil being used as a metaphor (not only referenced, it is inspired to the point where you'll recognize Baudelaire's atmosphere), and the Japanese need to keep making stuff like this because that’s where they really excel.

As I mentioned, the cinematography is excellent. With a solid budget, the film is thoughtfully shot—artistic, visually appealing, and carefully crafted in every scene. It has such great cinematic value that I had goosebumbs in some scenes.

By the way, there’s the drama Shounen no Abyss I need to watch, which also picks up on the idea of a teenager trapped in a rural town (the difference being that he doesn't have an "ordinary" life like Kasuga in Aku no Hana). A friend who’s a fan of J-dramas recommended it to me, and it seems really dark, artsy and completely unconventional as well.

Now the cast, it was perfection. Nakamura looked exactly as intended in the synopsis (creepy, weird, friendless), the actress nailed it and I was really attached to her but I'm gonna say it: Kentaro (Kasuga's actor) is the real gem here. Such a cute, influenceable, vulnerable, innocent face for such a distorted role (my guilty pleasure), and pure young talent (though honestly, the actress (Tina) is also too good and deserving of praise). It seems very likely to me that Aku no Hana was THE improvement in their acting and probably will stay their best work. It's clear they were very serious about it, no wonder I even read somewhere that they were fans of the manga. I'm just so, so glad they took it on. Huge respect for the production team too, and the author of the manga with whom they worked closely (funnily enough, the film cleared some confusion about characters motivations for some readers). It's magnificent to see such a story brought to (real) life. Of course, well-done supporting cast as well, no one made me cringe or anything, they were all believable and serious in their roles.

The music I thought added what it should to the scenes. There was one scene where it amplified my urge to cry. I also added the songs to my playlist.

Did I mention the way the film starts? Oh. My. God. Insanely good. And well-done all throughout. Really, they achieved the impossible with this one. How did they even manage to capture it all, so well?

It's important to note that the Japanese have their own unique and often subtle way of doing things, which is sometimes misunderstood by foreigners. Regardless, I'll do my best to explain.

I do not spoil any major event but it might be better to read the rest of my review later (if you want). Thank you for reading !

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Kasuga isn't exactly like the others, that's clearly shown from the start. He feels like he's different and doesn't fit in, or rather he would like not to, the latter being intensified when he gets closer to Nakamura. He had no special bond with anyone before Nakamura. In addition, what's key here is that they both are premature. Obviously, they are very much introverted as well.

The story would be nothing without Nakamura, she's really intriguing and absolutely not ordinary, contrasting with Kasuga. While Kasuga’s journey feels like an existential crisis—a struggle with his own identity and a sense of purpose as he suffers from being ordinary—Nakamura’s is more of a rejection of society itself, rooted in a raw contempt for conformity and superficiality. However, we can guess that this is also caused because of a profound lack of self-worth and self-love. Also lack of mental help and there is a lot of reason behind this, however this is for those who have the necessary knowledge on Japanese society, so I shared an explanation that's not mine at the end of my spoiler in the comments section. It is shown that she lacks a conventional family structure, hinting at a turbulent background that likely shaped her mentally unstable character (unless she has always been, or it worsened, especially with puberty). People shouldn't disregard the impact that a lack of love/attention can have on a child while growing up, caused by the physical and/or emotional absence of their parents (often because of work, particularly in Japan). Rather than just a weird, evil character, Nakamura should be seen as a victim—a consequence and by-product of many factors. Besides, her mother didn't quite look "normal." In such critical situation, a parent should be terrified.

Kasuga feels so strangely real and relatable (Nakamura does too but it's not the same, for me at least), I love him so much. It's so strangely human with the imperfection and complexity of it all, and this is why I think this film is beautiful albeit twisted. I love it when things go into ‘screw it, who cares’ mode, and the surreal aspect of the film just adds to it. Such a unique feel. It’s like witnessing the awakening of two souls who, for the first time, truly feel alive and seen by one another as they spiral into darkness (by embracing it). Taking an autodestructive and anti-social behavior, they reject humanity and unravel the fabric of reality itself, bound by a shared disdain and a need to question everything. What matters here is that deep inside, they are both lonely and insecure, misunderstood and alienated from the real world. The story leads to Kasuga being almost as broken as Nakamura when he realizes how empty he now feels. Because of that, he becomes the most dependent of the two. He had nowhere else to go anymore. He had to be with her. Looking at it from their perspective, it feels like watching the end of the world, doesn't it? The Flower of Evil itself appearing on the screen really strengthens that feeling.

Puberty is in full swing, which is crucial to Aku no Hana's story and tone. The characters are experiencing intense hormonal and emotional changes, amplifying their insecurities, rebellious impulses, and attraction to the forbidden. This period of overwhelming puberty adds a raw, almost chaotic layer to their actions and interactions, especially in how they express—or suppress—their darker thoughts and desires.

(Also, they are in their final year, which possibly adds a stress factor. It's something very common especially in Japan, and the point of the story and their character development is to free themselves (not in the right way but it is what it is), which means that something like this quickly becomes irrelevant, and was just an addition to everything.)

Kasuga, for instance, finds himself obsessed with Baudelaire's The Flowers of Evil *, and his fascination with the book’s themes of sin, guilt, and beauty is heightened by his adolescent intensity. Nakamura, on the other hand, is grappling with her own disillusionment and rebellion, pushing Kasuga to confront the darker parts of himself, which he barely understands. This combination of puberty’s volatility and the characters’ existential confusion is a huge part of why the story feels so unsettling yet relatable for some viewers/readers.

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* The Flowers of Evil by Charles Baudelaire isn’t typically classified as "abstract" in the strictest literary sense, though it explores themes that can feel abstract—like beauty, death, melancholy, and sensuality. Rather, it’s one of the foundational works of literary modernism, known for its use of vivid, often decadent imagery and exploration of taboo subjects. Baudelaire’s poetic style is concrete and sensual, often rooted in specific imagery and settings, which he uses to convey his complex themes and moods.

The collection’s innovation lies more in its symbolic and existential exploration than in abstraction. Baudelaire often used real-life imagery—such as the city of Paris, nature, and mythological references—to depict the inner turmoil, ennui, and the conflict between the ideal and the sordid aspects of human experience. These layers of meaning make the poems symbolist in nature, but not abstract in language or structure.

However, his use of synesthesia (combining senses, like taste and color), surreal contrasts, and symbols does push the boundaries of traditional poetry, pointing toward later, more abstract literary movements like surrealism. So while The Flowers of Evil itself isn’t abstract, it paved the way for later writers to experiment with abstraction and the inner landscapes of consciousness.

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Aku no Hana is definitely philosophical and nihilistic. To sum up the themes quickly: 1. Existentialism and Identity 2. The Nature of Freedom and Rebellion 3. Guilt, Shame, and Moral Ambiguity 4. The "Abyss" * and the Dark Side of the Psyche 5. Alienation and Modern, Youthful Angst

It uses its psychological and unsettling storyline to probe questions about freedom, moral conflict, and identity. It doesn’t offer straightforward answers to these philosophical questions, but rather invites viewers/readers to confront the darker, often unspoken aspects of human existence.

* The "abyss" recalls philosophical ideas from Nietzsche's concept of the abyss ("if you gaze long into an abyss, the abyss also gazes into you" ~ remember when The Flower of Evil visually appears) and Carl Jung's notion of the "shadow," the darker, unconscious part of the psyche.

Nakamura is drawn to Kasuga because she sees him as someone who, like her, feels disconnected from society's conventions. Her interest in him is rooted in a desire to unleash his inner perversion and bring chaos to his life, reflecting her fascination with rebellion and psychological manipulation. This bond between them is emotionally charged and obsessive but also genuine.

I've truly never connected to a fiction this much. This film was an incredible emotional release in my case, but it's really not a common one. It provoked something within me that I never externalised, and for this reason it is an unforgettable film that will likely remain my favorite for a long time, if not forever. I already watched it twice in a row as I am typing this. On a side note, I will never complain about things being exaggerated/over-the-top (as long as it's well done) because that's the beauty of art, and also why this film was so impactful. Especially for me. Besides, aren't the characters supposed to be kind of crazy? See, it fits anyway.

Be sure to stay until the very end of the credits. The final image is a powerful, symbolic moment that beautifully echoes the story's essence at its core, offering a haunting parallel that will resonate deeply with what you've just witnessed.

I have a lot more to share, but since it really goes into spoiler territory, I'll put that down in the comments.

P.S: "At first, I read Baudelaire’s Flowers of Evil and felt drawn to its raw intensity. I searched for a movie adaptation and stumbled upon The Flowers of Evil. Initially, I related to Kasuga—the isolation, the feeling of being misunderstood, of screaming into a void that doesn’t respond. But as the story unraveled, I found myself slipping into Nakamura’s world, her genius wrapped in madness. She’s like the abyss itself—a place where potential is devoured, yet there's something seductive and tempting in her chaos, something freeing. Slowly, I started looking up to her, not just her defiance, but her utter disconnect from the world’s rules. It felt like she was showing me the truth I was too scared to see: maybe I was wasting away, too." YES, this encapsulates my feelings.

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“How to Become Myself” could also have been called "how to stop people pleasing".

Have you ever felt like you always have to act in front of people, so they don’t see your true self? Your scared, vulnerable, sensitive self? Have you ever wondered who you really are when you’re not someone else?
Who are we when we don’t try to fit in with others?
I think these were the questions the film wanted to raise with a very authentic and inspiring innocence and simplicity.

And I think the final answer could be this:
even when you try to be more or less than you really are, it’s still you.
Your being is beyond what you do or don’t do, your lies or the roles you play. This need, this choice to become someone else to avoid suffering and/or to satisfy and please others is a component of who you are.
There is no need to deny it, you always have the right to be loved and accepted, truly, by others but especially by yourself.
You are not stuck, you can change, you can be someone completely different if that is what you desire and need, your identity is more than what you think. Your identity isn't stagant or rigid, it is free and abondant.
You are the author of your own story, not others. You get to decide how you want to live your life.

This movie could have been done better, that is undeniable. There are many scenes that were a bit too long, more dialogues were also needed, the pace got bad in the middle of the movie even though it is obviously a slow paced movie...

However, the beauty of the heart of the movie remains intact and very powerful, because it is about self-identity.
The intimate theme of self-identity is so complex that, obviously, only a truly innocent approach could answer it naturally. And that's exactly what the movie did.

I think people, situations, and things are complex only because there is a refusal to face and accept the simplicity of the reasons that motivate the complexity...

The boy says to the girl, "I don't understand this 'real me' and this 'fake me'. I love that Hanada Kanako is in front of me. Can't I? Can't I love you?"
And the girl realizes that she has misunderstood what love really means; it was only when the boy enlightened her with a simple truth that she began to understand.
When you see what true love is, how simple it is, you understand that you don't have to do anything for people to like you or not. You just have to be yourself no matter what. True love conquers all, true love means unconditional acceptance.

A scene made me cry and touched me deeply and I want to share these inspiring lines to motivate more people to try this movie :

"I didn't want to accept myself living here right now as the real me.
Because she's so dull and uncool.

"It's the fake me, so it can't be helped." It made me feel better thinking that way.
But I found out.

The cowardly me, the role of myself that I play, they're all me.
Me, who wants to run away, me, who lies ... and also me, who gets hurt ...are all me."

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Slow Burn At Its Best

If you're out for a horror movie with plenty of jump scares, look elsewhere.

Unlike your typical horror movie, supernatural beings don't get "accidentally" summoned by a bunch of irresponsible drunken teenagers, there's no cringey "I'll be back" dialogues, no jump scares, no slamming furniture, flying objects and creaky floorboards, no adrenaline inducing score to keep you at the edge of your seat; just a clever blend of cultural folklore, metaphysics, pacing and build up.

Divided into six different acts, "Exhuma" tells the story of a shaman and a geomancer, who are recruited to help a rich family conduct an exhumation of their ancestral grave.

Act 1, introduces the audience to the leads, who they are, what they do, and slowly reel the audience in by placing an unpredictable twist at the end of each act, making the audience wonder and hunger for more. Just when you think that you're right, you couldn't be more wrong.

There are, however, some obvious loopholes in the film, which might have been cut for time ("Exhuma" has a runtime of 134mins) but those loopholes seem like forgettable side quests, that doesn't really affect the main storyline.

Everything is meticulously calculated, everyone knows very well what they are doing, everyone knows what they are getting into.... except the audience.

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