As a seasoned cinephile who’s spent more time than I care to admit in the dimly lit corners of midnight movie theaters across the globe, Kenichi Ugana’s “The Gesuidouz” is a breath of fresh air that hits all the right notes for me. Hailing from Japan but resonating deeply with North American genre enthusiasts, this film is an ode to creativity and self-discovery wrapped in a quirky, deadpan package.
Kenichi Ugana’s “The Gesuidouz” is a charming, deadpan peculiarity centered around a Japanese punk band. The 26-year-old lead vocalist, Hanako (Natsuko), firmly believes she will die at age 27, just like Jim Morrison and Kurt Cobain. Through every scene, the group’s dry wit and musical intensity is vividly depicted visually, with vibrant, muted visual touches that bring humor out of gloominess.
The production culminates in a soft, confident tribute to creativity and discovering one’s voice via genre cinema, with the band’s music and albums primarily inspired by Hollywood horror films. The film is tailored towards a specific viewer. On one side, it distinctly reflects Japanese sensibilities, as Natsuko expresses Hanako’s melancholic state through introspective and refracted images of feeling confined in her own skin. She maintains a chilly demeanor for the most part, but occasionally shows a remarkable display of warmth. On the contrary, fans of late-night movies, particularly those frequenting events like Montreal’s Fantasia Fest and Austin’s Fantastic Fest, will recognize themselves not only visually but spiritually within this piece. The band, Gesuidouz, has gained international recognition, with followers in Quebec, and even among a few notable American genre directors, who make entertaining cameos.
Before achieving success, the band initially struggled with low album sales and the possibility of being dropped by their record label. Facing this danger, their manager (Yuya Endo) presented them with a challenge. In reality, it was more like a demand that Hanako extracted from the manager using her power drill skills. As a result, the band moved to a rural farm under the stipulation that they produce a new hit single. During their stay, Hanako formed a friendship with the elderly mother of the farm owner, who didn’t quite grasp the appeal of the band but was equally captivated by their creativity. Surprisingly, she turned out to be an unforeseen source of encouragement for them.
Throughout this period, Hanako and her fellow group members, portrayed by a diverse cast including Leo Imamura, Yutaka Kyan, and Rocko Zevenbergen (their band named “Guesthouse”), converse with and address what begins as a stand-in for a specific journalist, who queries them at a particularly somber juncture. However, the camera gradually assumes a more symbolic role as an observant, inquisitive entity. Though stationary and frequently remote, it subtly encourages them to rediscover themselves, and during instances of creativity, it zooms intensely on their faces, prompting the actors to overemphasize these moments before bursting into catchy musical interludes.
In my perspective, the movie blends elements of magical realism in an unusual way. For instance, a wise-talking Shiba Inu dog offers guidance, and songs mysteriously materialize as talking cassette tapes. These peculiarities are seldom acknowledged, yet they contribute to the film’s dry humor, which is reminiscent of Ugana’s stoic demeanor. In a manner similar to Aki Kaurismäki’s style, this understated approach conceals deeply emotional scenes.
The film “The Gesuidouz” primarily explores the themes of creativity through imitation and inspiration, resembling the Swedish punk movie “We Are the Best!” remarkably well. However, Ugana’s unique perspective is what truly sets this piece apart. The film flows smoothly, offering a touch of depth in its casual moments that makes for an enjoyable and occasionally reassuring viewing experience, despite catering to a very specialized demographic. Employing cinematic language exclusive to the group doesn’t become problematic as long as it serves its purpose effectively.
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2024-09-14 01:46