In the Crosshairs of Despair: Tsukamoto's "Bullet Ballet"
Poster for Bullet Ballet, directed by Shinya Tsukamoto
Renowned for his Gigerian-esque biomechanical horror evident in the "Tetsuo" series, Shinya Tsukamoto returns with "Bullet Ballet," offering a departure from physical transformation to delve into psychological depths following the hero’s journey. The film, Tsukamoto's 5th directorial piece, debuted at the 55th Venice International Film Festival in 1998. It unfolds the story of Goda, a successful advertising director who discovers his girlfriend dead, igniting a desperate quest through Tokyo’s underworld for answers and a firearm. Amidst encounters with disaffected youth, Goda’s journey blurs the lines between self-discovery and self-destruction.
While masquerading as a simple revenge tale, "Bullet Ballet" is a masterful exposition of depression and angst. Goda's journey intersects with Chisato’s, a member of the gang who mugged him, highlighting parallel paths of depressive spirals and violence. Shot with a monochromatic finish and handheld camerawork, the film creates a dark, claustrophobic ambiance. Chui Ishikawa's metallic score complements the visual narrative, evoking a Lynchian-Cronenberg-esque techno-thriller reminiscent of Tsukamoto's previous works.
Goda finds himself at gunpoint
"Bullet Ballet" intricately weaves metaphorical layers into its narrative, with Goda's quest for a firearm serving as a potent symbol of his psychological descent. Beyond a mere search for answers, it symbolizes his gradual immersion into the darker recesses of his own psyche. In parallel, juvenile delinquency was a prevalent theme in late 1990s Japanese cinema, with filmmakers like Tsukamoto exploring its nuances, a curiosity stemming from Tsukamoto's own experience of being mugged. While these themes may seem culturally specific, they offer profound insights into universal human experiences, inviting audiences to contemplate the complexities of identity, violence, and societal marginalization. These themes, along with the quest to find a firearm, play a metaphorical part in Goda’s “hero’s journey,” as they become the challenges Goda faces before falling into the abyss.
Goda aiming his gun, the .38 special, at his reflection in a mirror
Central to Tsukamoto’s thematic exploration is the concept of the human body as a weapon. Though subtler than in "Tokyo Fist" or the "Tetsuo" series, this motif is exemplified when Goda gazes at his reflection, holding the .38 special. Reminiscent of Martin Scorsese's "Taxi Driver," this scene underscores the gun as an extension of his body, capable of fulfilling destructive desires. Goda obtaining a gun demonstrates the final separation from Goda's known world and self, as he goes through this ritualistic metamorphosis that propels him into an abyss of self-destruction. This symbolic transformation serves as a stark reminder of the fragility of human morality and the allure of primal instincts. Through such potent imagery, Tsukamoto crafts a haunting meditation on the human condition, inviting audiences to confront the complexities of their own inner demons.
"Bullet Ballet" serves as Tsukamoto’s exploration of society's margins, particularly the world of crime, outcasts, and youth. Departing from physical transformation, Tsukamoto crafts a haunting narrative that delves into psychological and existential turmoil, where Goda’s gun becomes a symbol of ritualistic obsession. Through the film's evocative imagery and haunting narrative, Tsukamoto invites audiences to confront the darker facets of human existence, navigating the thin line between self-discovery and self-destruction. As Goda's quest for a firearm unfolds against the backdrop of Tokyo's underworld, "Bullet Ballet" transcends its narrative confines to offer a poignant commentary on the complexities of the human condition. With its powerful resonance and thought-provoking symbolism, the film leaves an enduring impact, solidifying Tsukamoto's reputation as a visionary filmmaker and "Bullet Ballet" as a cinematic gem that lingers in the mind long after the credits roll.
"I don’t know where I’m going, like a kite without a string."
Sources:
Linnarz, R. (2020, October 22). Film review: Bullet ballet (1998) by Shinya Tsukamoto. Asian Movie Pulse. https://asianmoviepulse.com/2019/05/film-review-bullet-ballet-1998-by-shinya-tsukamoto/
Mes, Tom (2005) Iron Man. The Cinema by Shinya Tsukamoto. FAB Press.
Images from IMDB.
Goda and Chisato coming to terms with the future
Why we fall in love with simple stories: Discovering Wim Wender’s Perfect Days
When we think about storytelling, we often imagine tales where charismatic protagonists overcome significant challenges, leading to a grand, satisfying conclusion. These narratives, filled with triumphs and resolutions, provide a sense of closure that appeals to our desire for neatly wrapped endings. However, the stories that tend to linger in our minds and resonate most deeply are often those that center on ordinary people navigating everyday struggles. Wim Wenders' "Perfect Days" exemplifies this approach, offering narratives that may not always provide clear resolutions, but instead reflect the complexities and ambiguities of the human experience. “Perfect Days” wonderfully demonstrates how unassuming tales, with open-ended or unresolved conclusions, can forge a profound connection with audiences. They echo our own experiences, reminding us that life's journeys are not always about grand finales, but about the nuanced, ongoing process of living.
Hirayama, played by Koji Yakusho, heading to clean public toilets in Tokyo. (Source: wbur)
"Perfect Days," directed by Wim Wenders, follows the introspective journey of Hirayama, a middle-aged man living in Tokyo. Hirayama, played by Koji Yakusho, leads a simple and solitary life, working as a cleaner of public toilets. While his days are marked by routine tasks, small rituals, and fleeting interactions with the people he encounters, Hirayama finds contentment in the small details of his daily life. Wenders constructs this story without the use of conventional narrative structures, allowing the audience to simply accompany Hirayama through his day-to-day life, until the film’s runtime comes to completion. Ultimately, audiences are left without a traditional conclusion, understanding that his life will continue as usual.
I remember leaving the cinema with my perspective on life completely changed, which led me to ask myself why was this film able to leave me with such an affective reaction? From my own experience, Wim Wenders’ decision to forgo the classical narrative structure ultimately creates an experience that allows the audience to resonate with Hirayama’s personal life. Despite potentially not sharing any similarities with the main character, anyone can resonate with the human experience.
Defining the human experience is nothing easy, as it encompasses absolutely every facet of life as we experience it. Without diving into its complexities, the human experience is ultimately a personal and individual journey that is different for everyone. Wim Wenders’ “Perfect Days” is a showcase of one’s human experience, by adopting a unique narrative structure that essentially showcases the physical, mental, emotional, and spiritual aspects of Hirayama’s life. Through the lens of Hirayama, Wenders invites viewers to witness the profound beauty found in everyday routines. The film’s narrative unfolds in a series of carefully crafted vignettes, each highlighting different elements of Hirayama’s existence.
Hirayama enjoying a bath at a "sento" (Source: The Italian Rêve)
Emotionally, "Perfect Days" delves into Hirayama’s solitude, punctuated by brief but meaningful interactions with the people he encounters, from casual acquaintances to distant family members. Each encounter in "Perfect Days" serves as a window into the lives of others, showing that everyone carries their own unique stories and experiences. For instance, a fleeting conversation with a fellow worker or a brief exchange with a passerby might seem insignificant on the surface, but Wenders uses these moments to highlight the depth and complexity of human connections. These interactions help showcase the individuality of the human experience, as each interaction grants us these shared moments of that experience, allowing us to understand that each of the characters have their own lives which are as unique and interesting as the rest.
This is further exemplified through the unexplored depths when learning about new characters. Wim Wenders and co-writer Takuma Takasaki do a fantastic job of bringing hidden layers and complexity to each character Hirayama engages with. Through each interaction, the audience is left with a fragmented understanding of the rest of the cast. These small details add layers to the human experience showcased in the film, emphasizing that each character lives a life as interesting as our own. While our curiosity might be piqued by the missing pieces of their stories, this lack of complete knowledge mirrors the reality of human connections. Not knowing the bigger picture is an intrinsic part of the human experience, reinforcing the film's authentic depiction of everyday life.
Hirayama and Aya, played by Aoi Yamada, listen to music in his van (Source: The Italian Rêve)
Wenders' portrayal of Hirayama’s life is not marked by dramatic events or grand revelations but by a deep appreciation for the ordinary. By focusing on the small and often overlooked moments that make up our daily lives, "Perfect Days" offers a rich, nuanced exploration of what it means to be human. It reminds us that the essence of the human experience lies not in extraordinary achievements, but in the quiet and persistent rhythm of everyday existence. As the film came to an end, the first thing I noticed was that there was never a ‘perfect day.’ Each day presented had their own highlights, slumps, and moments which felt somewhere in the middle. The film taught me that there is no such thing as a ‘perfect day,’ and that was okay. By appreciating moments that are often overlooked, we can make those days as ‘perfect’ as can be.
"Next time is next time. Now is now."
Challenging the dimensionality of photography: Examining Naoya Hatakeyama’s Maquettes/Light
Naoya Hatakeyama “Maquettes/Light #2602,” 1995, gelatin silver print, B&W transparency, UV filter, Light box, 22.5 x 15cm
Naoya Hatakeyama “Maquettes/Light #5121,”1997, gelatin silver print, B&W transparency, UV filter, Light box, 22.5 x 15cm
Naoya Hatakeyama “Maquettes/Light #5806,” 1998, gelatin silver print, B&W transparency, UV filter, Light box, 22.5 x 15cm
Naoya Hatakeyama, “Maquettes/Light #4303,” 1995, gelatin silver print, B&W transparency, UV filter, Light box, 43.8 × 34.9cm
Naoya Hatakeyama, a Japanese photographer born in 1958, has devoted his career to exploring the intricate relationship between nature and urbanity. Growing up in Rikuzentakata, a small town in the Iwate Prefecture, Hatakeyama developed a profound interest in the interplay between the rural countryside and bustling cityscapes. The dynamic between man and nature is central to his body of work, where he meticulously examines and challenges known connections between urbanity, nature, and photography. After completing his graduate studies at Tsukuba University in 1984, Hatakeyama moved to Tokyo, where he became captivated by the ethereal light dissipating through the city's mercury street lamps. This fascination led him to spend the nights of 1994 through 1997 wandering Tokyo's streets, capturing the patterns of light emanating from various structures. This exploration culminated in his series "Maquettes/Light," a collection of black-and-white photographs that use innovative techniques to transform urban landscapes into luminous, three-dimensional experiences that explores the relationship between human-made structures and the natural phenomena of light and perception.
"Maquettes/Light" is the culmination of Naoya Hatakeyama's nocturnal wanderings, a series of black and white photographs where he affixes a transparent film of the same image onto the back of the paper. He then presented them backlit, in light boxes, so that the structures in the photographs appeared to emit their own illumination. Hatakeyama approached his subject matter as if they were models of actual buildings. By utilizing backlit light boxes, Hatakeyama’s twist on the photographic medium helps present his initial approach. His methodology essentially creates a three-dimensional structure which presents a two-dimensional representation of the buildings photographed, manipulating both their scale and presentation. The feeling of looking at models of actual buildings is further reinforced through small printing dimensions used throughout the series. This forces the viewer to appreciate the photograph up close, an opposite reaction to seeing the building photographed in real life, which would require the viewer to step back. Through his methodology, Hatakeyama is able to transcend limitations of photography as a medium, encouraging audiences to engage more conceptually with the work presented.
Naoya Hatakeyama's "Maquettes/Light" not only captures the physical essence of Tokyo's urban landscape but also examines the relationship between human-made structures and the natural phenomena of light and perception. By using innovative techniques such as backlit light boxes and transparent film overlays, Hatakeyama transforms two-dimensional photographs into three-dimensional experiences, challenging viewers to reconsider their perceptions of urban environments. His work compels us to look closer and appreciate the nuanced beauty found in the intersection of nature and urbanity. Hatakeyama's unique approach to photography and his profound exploration of the dynamic between city life and natural elements leave a lasting impression, reminding us of the delicate balance and interconnectedness that define our world.
It is merely a tautology of reality, in which characteristics of photography, conversion and metaphor are de-legitimized. I thought that I cannot title this anything but “Maquette” ~ Naoya Hatakeyama
Sources:
Nakamori, Y. (2019, July 3). Naoya Hatakeyama – Everything is Illuminated. Tate.
https://www.tate.org.uk/tate-etc/issue-46-summer-2019/naoya-hatakeyama-maquettes-light-everything-illuminated
https://www.tate.org.uk/tate-etc/issue-46-summer-2019/naoya-hatakeyama-maquettes-light-everything-illuminated
Taka Ishii Gallery. (n.d.). Naoya Hatakeyama Maquettes/Light, Exhibitions.
https://www.takaishiigallery.com/en/archives/1355/
https://www.takaishiigallery.com/en/archives/1355/
Taka Ishii Gallery. (n.d.). Naoya Hatakeyama, Artists.
https://www.takaishiigallery.com/en/archives/5925/
https://www.takaishiigallery.com/en/archives/5925/