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As the film progresses we join Mima in the inability to distinguish between the real and the imagined. The film may in fact be richer in its subtext than text, recalling French theorist Jean Baudrillard’s “simulacrum” where image and illusion become as real as the real. Perfect Blue feels like a cross between The Fan and Poe’s William Wilson. The doppelganger theme is fleshed out nicely in the visual style, with constant use of reflecting surfaces, repeating scenes/shots and a verging-on-parodic use of the dream within a dream structure.
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The film slowly breaks down into a quagmire of ontological uncertainty as Mima the unhappy actress begins to imagine her former Mima pop star self as a phantom spectre, who may or may not be causing Mima, or Mima’s all-too faithful fan (“Mimaniac”) to perform a series of brutal murders.
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A fading pop star Mima, is forced by her producers to become a television actress in a show appropriately entitled “Double Bind.” Mima has trouble adjusting to her new identity and begins to hallucinate an alter ego. Several of the film’s murder set-pieces recall the Italian giallo thriller, especially Dario Argento’s Deep Red and Tenebrae The film is a spiraling riff on the doppelganger theme. The narrative is an ambitious giallo-thriller that may not work seamlessly but breaks new ground as an anime psychological horror thriller. But it’s not the form but rather the narrative that makes it a refreshing anime. True anime aficionados may have been disappointed with the work-in-progress version of Perfect Blue, specifically because the film feels like it could have played equally well as a live-action film. For knock-down-the-doors popularity Jackie Chan’s amazing Drunken Master 2 and mediocre (for Jackie anyway) Operation Condor and the Japanimation Perfect Blue were the undisputed victors (though there were 25 sell-outs in all). On the day when a large chunk of the guests left at once there was a genuine sense of sadness and a gaping void was felt over the next few days.īut of course the heart of any film festival is the programming, and this year’s selection offered treats wild and eccentric enough to please the most varied palette’s.
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Balun, Glen Wilcox and Alex Ojeda from Graveside Entertainment & Blackest Heart Media, Spanish director Nacho Cerdà, American Grit-Indie director Jim Van Bebber, Troma’s Lloyd Kaufman and James Gunn, the Italian entourage of director Sergio Stivaletti, writer-publicist Loris Curci and (Italo-Brit) director of Dark Waters Mariano Baino (winner of the most intriguing accent award) and the indefatigable Brit-pack of writer-journalists Harvey Fenton ( Flesh and Blood ), Jason Slater ( Diabolik, Shivers ), Martin Coxhead ( Dark Side ), Marcelle Perks ( Shivers, BBC World ) and director Richard Stanley. Guests included Michael Gingold from Fangoria magazine, Mr. There seemed to be a constant and symbiotic exchange of energy between Fant-Asia fest regulars, fest organizers, especially Mitch Davis, Karim Hussain and Julien Fonfrède, and the visiting fellow cinephiles, journalists and filmmakers. The guests seemed to genuinely enjoy themselves amid the hoopla and fanfare. The healthy list of invited guests surely cut into the Festival profits, but it helped enormously in creating a buzz and instilling self-confidence among the fest organizers (as well as putting Fant-Asia on the International map). Author Donato, 2nd from left, with Italian entourage, from left, Sergio Stivaletti, Patrizia, Loris Curzi, Mariano BainoĪ major difference between this year and last is the added guest list of visiting filmmakers, writers, journalists and critics.