A much more articulate Shinya has used his extremely visceral palette to produce a deeper film that passes over the gorehound's head and explores the scars of depression and self-destruction in ways that other film-makers have overlooked. From the beginning where Goda confronts his fiancee's death in a mirror while a cricket twitches under a dripping tap beneath him, to a deathwish game that the hoodlum girl Chisato plays later on in the subways, hooking her heels over the edge and delighting as the passing train throttle passes her, the imagery is amazing. Shot in intimate black and white, the graphic impact of its intense releases (There is a bit of animation on guns that's like a KMFDM video) hit you to hold you and keep you with the story until the end. At the screening I attended there were those who were disappointed that the violence lacked the kind of escapist punch that make other Hong Kong films so fun to watch, but I think Shinya was aiming for something different, and he succeeded. This is my favorite film of his and I definitely look forward to his next. For those trying to get an idea of what to expect, well it's the kind of surrealistic dreams that are often thought of by David Cronenberg and David Lynch. If you follow that path and walk with such minds than you should take a walk with Shinya Tsukamoto and see Bullet Ballet.
Review of Bullet Ballet
