Himizu; Revenge of the Electric Car; Delicacy
The word "maverick" is overused in modern film criticism, but Japanese avant-garde performance-poet-turned-director Sion Sono is one of the few film-makers to whom the term can be applied without fear of contradiction. From early experimental shorts such as I Am Sion Sono!!, through edgy international breakthrough features such as Suicide Club and Exte: Hair Extensions, to more recent releases such as Cold Fish and Guilty of Romance, Sono has conjured a baffling body of work spanning arthouse invention, Manga-inflected fantasy, violently explicit comedy and thought-provoking horror.
His 2008 magnum opus Love Exposure (the first instalment of his Hate Trilogy) is one of the most genuinely peculiar and unexpectedly indefinable movies I have ever seen – a tale of religious guilt, family feuds, young love, ancient curses, sinister cults, industrial pornography, covert cross-dressing and martial-arts-inspired "peek-a-panty" photography. At once insanely ramshackle yet obsessively focused, this head-scrambling...
The word "maverick" is overused in modern film criticism, but Japanese avant-garde performance-poet-turned-director Sion Sono is one of the few film-makers to whom the term can be applied without fear of contradiction. From early experimental shorts such as I Am Sion Sono!!, through edgy international breakthrough features such as Suicide Club and Exte: Hair Extensions, to more recent releases such as Cold Fish and Guilty of Romance, Sono has conjured a baffling body of work spanning arthouse invention, Manga-inflected fantasy, violently explicit comedy and thought-provoking horror.
His 2008 magnum opus Love Exposure (the first instalment of his Hate Trilogy) is one of the most genuinely peculiar and unexpectedly indefinable movies I have ever seen – a tale of religious guilt, family feuds, young love, ancient curses, sinister cults, industrial pornography, covert cross-dressing and martial-arts-inspired "peek-a-panty" photography. At once insanely ramshackle yet obsessively focused, this head-scrambling...
- 8/6/2012
- by Mark Kermode
- The Guardian - Film News
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