Infection

The whole "J-horror" phenomenon may be winding down. I have not seen a clever or original entry in the sub-genre in some time. It seems they are becoming as bland as Hollywood even though most fans are still eating it up because they are in search of something different and smart. It also seems Taka Ichise produces every single one of these films so they can put some blurb about The Ring and The Grudge on the DVD box. It's getting old with me. Ringu and Ju-on were great horror films, but you can only beat a dead horse for so long. Infection (the first entry in the J-Horror Theater series) is definitely beating a dead horse. Nothing new is offered here regardless of all the potential the film had. Creepy empty hospital, weird patients, gooey green slime, and they blow it. It's just not scary, it doesn't deliver the goods like its predecessors. In fact, it's all very boring. I never once felt anything for the characters and nearly fell asleep multiple times. The situation was getting intense when they were searching for the host of the virus, but that doesn't last. In fact, there was no host at all it seems. The ending is about what I expected and I found it to be completely stupid. Some people are going to say that I missed the point, but I understood the film for the most part. It's just that I don't care. I've seen much better Asian efforts, such as The Eye and A Tale of Two Sisters, and the standards those films set are high. Infection just doesn't raise the bar.

Like many horror fans, I've been watching a lot of Asian films recently. Although Asian horror isn't new, easy availability of it in the United States is relatively recent. Unlike many horror fans, though, I'm not generally of the opinion that Asian horror is better on the whole than American horror. That's not to say I think American horror is usually better, either. I just think the two are different.

The odd thing is that even understanding that difference, a lot of reviews for Infection are complaining that the film is a bit "confusing", "disjointed", or more charitably, "non-linear". That's to be expected from a viewer who hasn't seen a lot of Asian horror yet. But oddly, those comments are often coming from viewers who seem to love the genre. It's odd, because the genre is characterized by being more non-linear. Compared to the typical U.S. horror film, Asian horror has many of the same differences that European horror from the late 1960s and early 1970s had--it tends to be more surreal and poetic. Rather than a focus on transparent literalism, there is a focus on metaphor, symbolism and dream logic. For anyone familiar with academic philosophy, the difference is reflected there. U.S. horror is equivalent to analytic philosophy, European horror to continental, and Asian horror seems rooted in Zen, Taoism, and so on.

Thus, when you begin watching a film like Infection, you have to expect something different than what you'd expect from, say, Cursed (2004) or Valentine (2001). Although in many ways, Infection is more straightforward and spends more time providing explanations than the typical Asian genre film. It's nowhere near as inscrutable as Charisma (aka Karisuma, 1999) or Chaos (aka Kaosu, 1999), but it's not as transparent as Dark Water (aka Honogurai mizu no soko kara, 2002). Rather, it fits nicely in the middle of the two extremes.

The story is set in a small Japanese hospital. Right from the start, we see that they're having odd problems and things are beginning to get out of control. The hospital is understaffed and quite a few employees do not seem to be as competent as they should be. Meanwhile, we see an ambulance that keeps announcing that it has a patient with a possibly dangerous infection who needs to be seen immediately. We're not sure who they're broadcasting this to. After a while, it becomes clear that they're broadcasting it to no on in particular. Eventually, The ambulance drops off its patient despite protests from a doctor about not being able to handle the case. The patient has a bizarre, possibly fatal infection, and it seems to be spreading.

Although infection makes a fair amount of sense on a literal level, much of the film is meant as an extended, in-depth metaphor for infections, and not just literal biological infections. Director/co-writer Masayuki Ochiai and co-writer Ryoichi Kimizuka stress a phenomenon that's more like meme theory--they're looking at how ideas, or any kind of information or state, starts with a seed that's passed on and evolves/transforms over "generations". Since this is a horror film, a lot of the focus is on how that can go sour.

At the same time, the film works just as well on another level--an unabashed series of cringe-worthy horror set pieces. All of these layers co-exist happily, and most viewers can choose to engage (or not) with the film on any or all of Infection's modes. Like most artworks, you get out of Infection whatever you put into it. That means that this isn't really for passive viewing.

Just as would happen in an infection, or under the various infection-like phenomena that are being symbolized, Ochiai gives us a gradual transformation in style, structure and content. The opening scenes are normally lit, the hospital is well populated with relatively normal folks, and the patients' problems seem only slightly odd. At the very beginning, the film could just as well turn into something of a hospital "soap opera". But imperceptibly from moment to moment (it's only perceptible when you take a step back for a "broad" view), the lighting and color schemes change, first becoming a bit darker, then emphasizing pinks, reds, yellows and finally greens and blues--a color transformation not unlike a minor inflammation leading to bruising, sickness and strong nausea, and finally death.

At the same time, our cast of characters--both medical professionals and patients--gradually dwindles until we're left with only a small core or normality. Infection becomes increasingly claustrophobic, and Ochiai makes a similar transformation in his physical threats--from "hard", external problems, to a gradual getting under the skin, to complete bodily dissolution. At the same time, a ghostly presence becomes more prominent. These kinds of infectious progressions imbue every aspect of the film and are quite ingenious.

But wait--there's more! Ochiai has also given us a mind-bending "rubber reality" film. He makes a philosophical point about color perception early on that ends up being correlated with the changing color schemes on a completely different level, rooted in the mental. This aspect comes as something of a twist near the end, and imply a recontextualization of the whole to that point, although the point may just be the role of the mental in "infections". But just so we don't forget the ultimate aim, Ochiai gives us a small horror set piece tag at the very end that exists only for its own sake.

My love of this film might also have personal roots--just about the only things that disturb me in reality are medical in nature--doctors, hospitals, treatments, sickness, etc., so films like this hit close to my phobias. At any rate, for me, this is one of the best Asian horror films of recent years, right up there with Ebola Syndrome (aka Yibola bing du, 1996), Battle Royale (Batoru rowaiaru, 2000) and Suicide Club (Jisatsu saakuru, 2002). Don't miss it, but go in with the right frame of mind. And bring penicillin.

I like how much work Japanese directors put into the pacing, atmospherics, and suspense of their horror films. This one is no exception. If you ever saw Kingdom Hospital and enjoyed it for the mix of suggestive spooky supernatural undertones clashing with rationalism and materialism thematically, then you might like this film as well. At first I thought this film would turn out to be something like 28 Days with ferocious infected zombies feeding on humans, but there is a much more clever plot line going on which I won't reveal. The plot seemed to have some holes in it til I realized what was really going on in the end. Mainly though, I enjoyed the mix of film with a suggestion of a supernatural influence in a materialist or rationalist world. Visual storytelling gets this idea across with images of, for example, swings swinging on their own near the hospital, or an old crazy lady who sees her dead relatives in mirrors staring at her reflection in a window looking like an apparition. I must say that after discovering Japanese thrillers and horror films, it is hard to go back to Hollywood offerings for sure. They seem so predictable, tame, and cookie-cutter in comparison.

Like so many J-horror flicks in years past, the plotting is a nonsensical mess of seemingly random events tied to a loose running narrative, but the visuals do a good job of maintaining interest.

A patient dies at a hospital due to a mistake made by a team of hospital personnel. Wanting so save their careers, they vow to cover it up. Around the same time, a young man arrives at the hospital exhibiting symptoms of an unknown contagion. After the youth dies due to the virus (by melting away, of all the unpleasant ways to go), the members of the conspiracy start behaving strangely and also experiencing the same symptoms. What is happening to them? That is about as linear as the plot ever gets, from there on the story starts rocketing back and forth between flashbacks, hallucinations, ghostly encounters and other odd events. Moreover, rather than moving toward a resolution of conflict, it merely gets weirder and stranger the longer it runs. The characters are mostly anarchistic views of social stereotypes, which makes hardly any of them likable or sympathetic. Also, the story drags for the first 30 minutes or so, while the last 30 minutes shoot by way to quickly; some re-editing could have helped with that.

Visually, the film is nice. A greenish hue covers most of the film, which gives it an eerie sort of discomfort. Also, many shot choices and camera angles add to the feeling of things not being right. There is a fair amount of 'gooey' scenes, but not very much in the way of the red stuff. Most of the scare set ups are fairly well done, but many of them conclude without much pay-off.

There's good (visuals), there's bad (the script), meaning it's really only meant for J-film fanatics.

6/10

I have always been a big fan of Asian horror, as the directors seem to have a knack for incredibly creepy visuals and creepy atmospheres. Kansen (Infection), is no exception to this, as it rivals Ju-On, Ringu and Gin Gwai for thrills and chills. What is really amazing is that there is no reliance on long haired girls or little boys, what is scary here is the hospital itself, and the characters within. This is very different to most supernatural horror films, as the story focuses on the characters for the majority of the film.

Infection is set in an under-staffed and under-financed hospital where the staff are under a lot of stress. One night, while trying to save a burns victim who has been there for three months, a young nurse accidentally gives him a lethal injection. Dr. Uozumi convinces all the other staff to create a false report to save the hospital. That same night a patient is brought in with a severe infection which causes the internal organs to liquefy. Soon all the staff are working together to discover what this disease is before it starts to spread to far.

As with most Japanese horror films, the plot is not wrapped up nicely, and in this case, it is the most puzzling of them all. Although I now have formed a solid conclusion for myself, it was still an incredibly confusing and muddled final 10 minutes. I think the last section could have been fixed up, as the pace slowed down after a very tight hour. However, the film is highly original for the most part and features some genuine scares and disgusting and beautiful visuals (much like Dario Argento's Suspiria). Amongst all the American trash being released, this stands tall and further proves that Asia (and Europe) are producing the highest quality horror.

3½/5