After an accident, Hiroshi (Tadanobu Asano of the Thor movies, star of Bright Future and Ichi the Killer) wakes up uncommunicative, barely knowing who he is. He returns to med school and begins a four-month class where he dissects the body of his girlfriend Ryoko who died in the crash, while he experiences lucid dreams (or returning memories, or a split consciousness) in which he spends time with Ryoko.
So it’s another trauma movie from Tsukamoto, about pain and memory and body horror – though this is a quiet and restrained movie, and we hardly see any surgery, so it’s not so much a horror movie as the poster would have us believe. This was made before two of my faves, Haze and Nightmare Detective. Employing crossfades and slow zooms into splotchy patterened walls, it effectively represents Hiroshi’s dark, blurry mindset without going into the usual Tsukamoto shaky-cam histrionics.
Hiroshi’s own parents had apparently given up on his future before the crash and are warily glad that he’s back in med school – dad is Kazuyoshi Kushida of Oshima’s Sing a Song of Sex, and mom is Lily of Oshima’s Dear Summer Sister. Hiroshi makes the odd decision to contact the girlfriend’s parents and let them know that he’s cutting her up. They take this news better than I would’ve figured, and as the mom (the cinematically named Hana Kino of Ôbayashi’s Beijing Watermelon) is dying of cancer, dad (Jun Kunimura: the unlaughing lord in Scabbard Samurai, lead gangster of Why Don’t You Play In Hell?) seems to appreciate Hiroshi’s company. There’s also another emotionally disturbed med student, Ikumi, who blames herself for a professor’s suicide, and seems to exist in the movie mostly as an audience surrogate to stare in disgusted wonder at Hiroshi as the other students slowly abandon him.