仄暗い水の底から / Dark Water
Hideo Nakata. 2002
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6 Chome-24-6 Sagamihara, Chuo Ward, Sagamihara, Kanagawa 252-0231, Japan
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Dark Water will be released on 4K Ultra HD on March 19 via Arrow Video. Peter Strain designed the cover art for the 2002 Japanese horror film; the original poster artwork is on the reverse side.
Hideo Nakata (Ringu) directs from a script by Yoshihiro Nakamura and Kenichi Suzuki, based on Kôji Suzuki's 1996 short story. Hitomi Kuroki, Rio Kanno, Mirei Oguchi, Asami Mizukawa, Fumiyo Kohinata, and Yu Tokui, star.
Dark Water is presented in 4K with Dolby Vision (HDR10 compatible) and original Japanese lossless 5.1 DTS-HD Master Audio with English subtitles. Special features are listed below.
Special features:
Interview with director Hideo Nakata
Interview with author Koji Suzuki
Interview with cinematographer Junichiro Hayashi
Interviews with actors Hitomi Kuroki and Asami Mizukawa and theme song artist Shikao Suga
Making-of documentary
Trailers
TV spots
Booklet written by film historians David Kalat and Michael Gingold
Dark Water follows Yoshimi, a single mother struggling to win sole custody of her only child, Ikuko. When they move into a new home within a dilapidated and long-forgotten apartment complex, Yoshimi begins to experience startling visions and unexplainable sounds, calling her mental well-being into question, and endangering not only her custody of Ikuko, but perhaps their lives as well.
Pre-order Dark Water.
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Hitomi Kuroki in Sada (Nobuhiko Obayashi, 1998)
Cast: Hitomi Kuroki, surutarô Kataoka, Norihei Miki, Kippei Shîna, Toshie Negishi, Bengal, Renji Ishibashi, Kyûsaku Shimada. Screenplay: Yuko Nishizawa. Cinematography: Noritaka Sakamoto. Production design: Kôichi Takeuchi. Film editing: Nobuhiko Obayashi. Music: Sotaro Manabu.
Having seen House (Nobuhiko Obayashi, 1977) and In the Realm of the Senses (Nagisa Oshima, 1976), I had to see what the director of the former -- a brightly colored, over-the-top horror film, set to a bubble-gum pop soundtrack, about a gaggle of Japanese schoolgirls who find themselves in a haunted house and proceed to die in various colorful and inventive ways -- would do with the latter -- a sexually explicit account, with full nudity and unsimulated copulation, of the crime of Sada Abe, who in 1936 killed her lover, Kichizo Ishido, carved their names on his body, and cut off his genitals, carrying them around with her until she was arrested. The story of Sada has been the subject of numerous books and at least five movies in Japan, after her trial -- which resulted in five years in prison -- set off a nationwide sensation, turning her into a kind of folk hero. The result is a curiously show-offy film that Obayashi fills with all manner of tricks: switches from color to black-and-white, characters breaking the fourth wall, eccentric cuts and startling shifts of tone, and deliberate violations of cinematic convention. In one scene, Sada (Hitomi Kuroki) and her lover, whose name has been changed to Tatsuzo (Tsurutaro Kataoka) in the film, are walking along the street together. The camera follows Tatsuzo from right to left as he speaks, then cuts to Sada as she replies. Film convention calls for a shot followed by a reverse shot, in which we see first Tatsuzo and then Sada from different angles. Instead, Obayashi cuts to Sada, filmed from the same angle and still traveling from right to left, as if she has somehow physically replaced Tatsuzo. This and similar impossible cuts and angles in the film are probably meant to suggest Sada's identification with her lover. Tone shifts mark the film from the beginning: It opens with 14-year-old Sada's rape by a teenage boy, a harrowing scene that is nevertheless somehow played as if it were comic, just as later Sada's work as a prostitute shifts into comic mode with speeded-up action and cuts to a voyeur watching from his hiding place, and a fight with Tatsuzo's wife becomes almost slapstick. Obayashi seems determined to avoid anything that smacks of melodrama or sentimentality. but not always successfully. The screenplay, by Yuko Nishizawa, tries to add depth to Sada's story by inventing a young medical student, Okada (Kippei Shina), who tends to her after her rape. He becomes a symbol of Sada's loss of anything but physical love when he is forced to part from her: He gives her his scalpel and has her mime cutting out his heart and taking it with her -- an obvious foreshadowing of her actual use of the scalpel on Tatsuzo. Sada spends much of the film hoping to be reunited with Okada, only to find that he has leprosy and has been sent to an island on the Inland Sea for quarantine. The film ends with a shot of an elderly woman looking out across the sea to the island. In contrast to Oshima's In the Realm of the Senses, Obayashi's film avoids nudity, but this only serves to add another layer of distance between the viewer and Sada. Kuroki, a beautiful young actress, does what she can with the role, but the constant camera tricks and the limitations imposed by the script never let us get more than a superficial glimpse of what drove Sada Abe to act as she did.
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Dark Water (2002)
31 Days of Horror
My ★★★★ review of Dark Water
#FilmReview #MovieReivew
Dark Water (2002)
Synopsis – A mother and her 6-year-old daughter move into a creepy apartment whose every surface is permeated by water- Dark Water
Director – Hideo Makata
Starring – Hitomi Kuroki, Rio Kanno, Mirei Oguchi
Genre – Horror | Mystery
Released – 2002
⭐⭐⭐⭐
Rating: 4 out of 5.
If you liked: The Grudge, The Legend of Hell House, The Pool
After the release of the influential and…
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66. Film - Dark Water (Honogurai Mizu No Soko Kara)
Year - 2002
Director - Hideo Nakata
Cast - Hitomi Kuroki, Rio Kanno
Cinematographer - Junichiro Hayashi
Rating - 6/10
For fans of - Ringu, One Missed Call, The Grudge
What it is.
A divorced mother moves to an apartment building with her daughter where the roof is constantly leaking water. The origins of the leak are supernatural, and lead the mother and daughter to a disturbing discovery.
What rates it.
I love that J-Horror moves slowly, building up suspense without the climax that we’ve been conditioned to expect from American horror movies. It keeps the audience engaged and constantly curious.
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