Genre: Horror, Melodrama
               Death, amnesia, medical, accident, anatomy

Over Her Dead Body – or: Innerspace

  Initially believed to be almost in an experimental film or video clip to find an industrial band. Or just in one of the earlier works of the wizard Shinya Tsukamoto: After looking at abstract organic forms, which are accompanied by floating ambient music and bells, changes both at the overlay image as well as on the soundtrack, the narrative approach: Recordings from smoking factory chimneys and shift, often duplicated in front of a leaden sky, into one another, accompanied by a concerted cacophony of noises, which are increasingly moved toward a climax, to leave port and then gently and in a circular camera movement, to end at the head of a man with eyes closed on a bed of lies.

The young man in the medical student Hiroshi (Tadanobu Asano), who wakes up just after a serious car accident from a coma is and must say that he is on can hardly remember anything – least of all not to the circumstances of the accident in which his girlfriend Ryoko was killed. Obviously trying to normalcy takes Hiroshi, to support his understanding parents, the study again, that he wanted to cancel before the accident. As luck would have it, he must exert himself in his anatomy course at the corpse of a young woman who turns out to be the remains of Ryoko. And with each cut, the Hiroshi sets, with each new layer of tissue that he removes and prepared to turn back the sometimes quite dark memories of Ryoko. And then there’s the mysterious student, Ikumi (Kiki), which is as far superior to the other students and is interested in striking him. But Hiroshi is still in search of his self that he is by the accident and the loss of his friend had lost.

Without a doubt marked a vital turning point in Tsukamotos Shinya, who has long known primarily for his was Cyperpunk / Cyborg trilogy Tetsuo (1989, 1992 and 2009) and the striking physicality of his film Tokyo Fist (1995 perceived). Operate either in the vital body (the living and the dead) in the center of attention. At the same time Tsukamoto penetrates with its front still razor sharp, and stunning images, squeezed his dialogues and experimental sequences of darkness and grace, especially in psychological and emotional dimensions that we had known less of him. It is no longer a body and its modifications, but the memory and the soul of man, to whose heart, so to all that constitutes our humanity, our capacity for love and empathy. Actually, the story of a return knitted into life and a longing for death, which develops into an obsession, a disease quite easy and offers dramatic little surprising, but it is above all the aesthetic brilliance, exquisite interiors and formal sophistication that inspires and fascinates and hinweghilft about some not so compelling scenes. Because you, you feel as deeply human, this film is and what deep emotions he shows impressive.

Vital is the definitive proof that Tsukamoto beyond its widely tested success formula of cyberpunk and body horror of one of the most important and creative contemporary Japanese filmmaker. With vital he finally crossed the (anyway just imagined) gap between the experimental and the underground art-house cinema. But it is, as his subsequent films have shown a two way street, which he has broken, but merely an extension of existing skills and interests anyway. And perhaps this film is precisely why a suitable manholes in the bizarre universe of Shinya Tsukamoto.

(Joachim Kurz)

Title: , Vital Original Title: Vitâru Country of production: , Japan Year of Production: 2006 Length: 85 (Min .) Published by: Rapid Eye Movies Available formats: 16:9 tone / language: Dolby Digital 5.1, German, Japanese EAN: 4260017062781 Extras: Making Of, Music Video, Trailer

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