Kimyô na sâkasu

Compared to the previous film, the production values here just scream out at you with its opulence from the opening scene , from its colourful sets and gaudy characters leaping out with a compère introducing some characters and acts in a strange circus indeed. Written and directed by Sion Sono, I have only had one experience with his Noriko's Dinner Table, and had primed myself for yet another tale of the bizarre, and one that touches on his pet subject, the erosion of identity and values in a traditional Japanese family.

This one though, had Sick written all over it, especially with the premise Sion had started off with. We are painted the picture of a perfect, rich household of three, before dad Gozo (Fumie Nakashima) starts to hatch an evil idea of hiding his daughter Mitsuko (Rie Kuwana / Mai Takahashi playing different age groups) in a specially designed cello case with a peephole, which he puts in the master bedroom in order for Mitsuko to learn the art of making love. Needless to say, throw in child sexual abuse, and a mother Sayuri (Masumi Miyazaki in a comeback role) who's just compelled to peep from the same case, and things are just not what they seem.

It gets even sicker through the complication of emotions and standing within the household, where Sayuri gets jealous with the attention that her child is getting from her husband, and a deadly tussle ensued, resulting in a guilt trip which Mitsuko, now assuming fully the role of a wife, starts to look at herself having the physical make up of a fully grown woman, taking the appearance of her mother. If you've made it to this point, that's great, since it's probably nothing more than a severely dysfunctional family being put on screen in an examination of taboo issues like incest.

Then Sion starts to turn things over our heads, with this seemingly one-track narrative being nothing more than the storyline of the paralyzed novelist Taeko (also played by Masumi Miyazaki), which makes one wonder if what we've seen thus far is but a figment of her imagination of yet another potential bestseller, or there's something more than meets the eye especially to her paralysis. Sion then begins to cut forwards and backwards a lot more, resulting in a tale that could go either way, depending on whether you're buying the story in the novel as a fantasy, or rooted in reality. The introduction of Taeko's androgynous assistant Yuji (Issei Ishida) also helped made this particular act stranger than usual, though you're likely to come off with a suspicion that he's got a lot more to do with Taeko than it seemed.

If you're comfortable enough with the inclusion on this act, then the last one that Sion throws at you, in an effort to gel this weird mother-daughter dynamics, will be the litmus test for each individual whether you like the film or not. To me, I thought it was fine, though confusion can arise because now all three arcs start to mash up against one another, and the lines between fantasy and reality will very much depend on which angle you prefer to adopt. I'd go for how sexual abuse will really warp a young, impressionable child's mind, and turn it into a long drawn out tale of mystery and revenge. Sion adds to the confusion through the use of perspectives, having different characters assume roles that we've seen before, and when you try to logically work things out, in comes the scenes of gore and torture for horror classification.

Don't be put off too early by Strange Circus, as there is enough material on hand to warrant multiple viewings just to test out the other hypotheses on who's actually who, and who actually did what. As mentioned, the production values are just great, though some scenes, or the thought of it since they happen off-screen, would make you nausea. Different layers being presented independently, then rolled together into one, makes Strange Circus quite a challenge to sit through, but with a satisfying payoff at the end.

I started to watch this because Netflix suggested it. I used to love to go to the movies and look for good Hollywood material but nowadays it's scarce. This movie (and the ones like it) are the reason why I still believe movies are art.

This is a piece that will make you struggle to find out what is actually happening. As other reviewers mentioned, it does have its piece of sex, incest and violence, but it is never the focus. The movie uses those resources to make you understand what the protagonist is going through.

It will linger in your mind for several days, and I think that is the greatest compliment a work can get.

It starts a little slow, but it gets better... all the way to the end when you actually think it is going too fast. Do yourself a favor and watch this with an open mind. It's like pure oxygen in the middle of Hollywood pollution.

When i saw Suicide Club for the first time i knew Sion Sono would come to be a director i would look out for, and with Strange Circus he delivers, that's not to say that you will automatically like this one if you loved suicide club, because this is is something different.

If suicide club was his pitch black pulpy look at Japanese culture, this is his nightmarish avant garde look on a dysfunctional family. This is art-house the way it should be, confrontational, engaging and intelligent.

This is at some points extremely unwatchable as it deals with themes such as incest, but the way it is portrayed is absolutely stylish but still jaw droppingly tense.

It reminded me of David Lynch and Alejandro Jorodowsky because of the dreamlike sequences and the constant pondering on what is real and what isn't.

This movie is shot beautifully, even Kubrick came to mind at some scenes. Without spoiling anything i can say that this movie is very open to interpretation and it works and many levels.

I would highly recommend this movie to anyone who likes deeply psychological drama, horror and art-house combined), but a warning, this is not for the faint of heart and i can really understand why people would condemn this film as perverted trash (such as people will condemn Lars Von Triers Antichrist), although i genuinely think that anyone with a love for cinema would grasp the deeper things this movie has to offer and will enjoy the beauty in this nightmarish vision.

This is the first of its kind (I'm sure there are more like this movie out there) that I've seen, so I don't consider my vote fair.

During the movie, I had mixed feelings of: this is disgusting, this is a masterpiece, this is amazing, this is horrendous.

Right after watching the movie, I definitely thought, "What did I just spend my 2 hours watching?"

However, I believe this is an amazing film. Even though it's disturbing, the story is great, the film is excellently shot - the film IS motivated to tell that story, however weird it may be.

I recommend this movie, especially if you're looking for something new, something to think about; if you're studying film or if you're just bored. :)

My last comment is: I thoroughly enjoyed this movie, and I recommend it to others.

Being as there is only 1 current review (as of November 2006), and a bad one at that, I feel compelled to write something. If you like to have a director mess with you, don't pass this one up. I'm not sure that this tops 2002's Suicide Circle (or Suicide Club) from Sono, but it's up there. I won't go into the plot here, but if you're into psychological thrillers or even more specifically the recent Asian stuff with those lovable twists like Takashi Miike's Audition or Chanwook Park's Oldboy (which I thought was overrated, though still good), this here's for you. Definitely not for those who would be offended by an underage actress involved in explicit scenes. What else? The cinematography in the first half is good too, as there are some nice shots during the horrific atmosphere of the story of Michuko. The 2nd half is all about the *unfolding* so to speak. I definitely need to watch it again.