Noriko's Dinner Table

Well. Its a very long film; at around 3 hours I guess, and at times it does feel like ...it could have been a little sharper. But I don t begrudge the length: unlike some movies, where the coyote syndrome starts to cut in, I didn't t feel like chewing off my leg once. The movie is a companion piece to the very excellent Suicide Circle But those expecting the same extraordinary images of the first film might be disappointed: this is a (mostly) slow moving and introspective study of identity, the roles that we play, and that others and society impose upon us. 17 year old Noriko runs away from her seemingly loving family to Tokyo where she meets the chilling Kumiko; a woman with no individual existence. What follows is profound and, at times highly unnerving as the personalities of Noriko, her younger sister Yuka, and their family are all annihilated. The performances of all of the actors is outstandingly committed; I cannot believe that the last set piece of this movie could have been shot in more than one take; the strain on the actors must have been unimaginable. This is big, grownup cinema, don t expect explanations, don t expect to understand all of what takes place I sure as hell don t. Do however expect to be awed by the sheer daring of this wonderful piece of work and the brave actors, who are called upon to give performances of such extraordinary power. You might love this move, you might hate it, but you sure as hell won't forget it.

This was a roller coaster through the sickness of the human mind and back up to blue skies. I watched this after suicide club (that in my opinion was very average to not so good) and was amazed. The movie did not even need the Suicide Circle background. The symbolisms were nicely presented and the metaphors were very tight to the storyline.

The atmosphere is heavy dramatic and suits the movie's concept fantastically. While watching you feel like you are passing from reality to fantasy and back again up to the point you don't know whats real anymore. We have to thank the very well presented characters for this (just enough info but not too much). This was a very very good movie. Long but good!

First, I will just state a few things about the movie before I give my review and comments.

-Yes, this is a continuation of sorts of the story started in Jisatsu saakuru (Suicide Club). -No, this is not a "horror" film, at least not in the modern sense. -Yes, as is stated, this is a long movie, and requires an open mind, and patience

It has been stated on several reviews of the first film that it meant to serve as a social commentary on the overly complacent stance taken by the general public in modern Japanese society. Whether that is true or not, the first film had a perfect blend of twisted "horror" imagery, with a stark use of satire. While the first one left many questions unanswered at the end, this entry into the series not only answers some of those questions, but opens new ones.

Shion Sono shows one again that not conforming to any convention can be a refreshing thing. This time around, he shows us a new story, not focusing on characters living through the main events of the story, but rather events taking place before, during, and after the events of the first film. This is all done with a much slower pace this time around, and focuses more on emotions and thought of the characters, rather than focusing on the events themselves. Most of the story itself is told though the narration of the four main characters, as they share their perspective of the events they are seeing. This gives a very intimate feel, though some may feel that the characters give a little too much detail.

This film leaves the big events of the series and instead focuses on little moments, moments that the characters share with others, or with themselves. The fact that this movie focuses more on emotions is what makes this movie shine. The performances are simply amazing. Using mostly lesser known Japanese actors, Sono has drawn out some of the most emotionally draining and shocking scenes in recent memory, and by the end of the film it is hard to think that these actors aren't all seasoned professionals. The film feels very real, and has a somewhat low budget home movie quality to it. This is the same quality that is given to many TV movies in japan. The effect is a movie that is stripped down to the basics, and is at some points very intense and hard to watch.

This is not "Suicide Club 2". There are no pop songs, or flashy Ziggy Stardust-type moments. at times this may feel like it is worlds away from the first film. For those that are looking for a good, emotionally charged film that builds on conventions and story-pieces that were started in the first film, I would whole-heartedly suggest seeing this film. It is not for everyone, and to some it may be frustrating. This is a movie for those that want to ponder a mystery much greater than any murder; inter-family relationships.

After seeing "Suicide Club", I approached this film with some trepidation. However, this is not "Suicide Club 2". Its a story of two sisters Noriko and Yuka, who live with their parents in Toyokawa, a sleepy seaside town. Mousy Noriko is unhappy with this existence and runs away to Tokyo. There she meets Kumiko, who runs a fantasy service in which young ladies act as daughters for lonely men, amongst other things (the "family rental" concept is a great idea for this film). Yuka eventually runs away also, and does the same thing. Their father pieces together clues as to their whereabouts and doing and goes to Tokyo to find them. First of all, the settings are excellent. Like New York City and London, you see Tokyo in all its glory, neon etc. The story itself is also great, flowing & unfolding slowly until it reaches an explosive climax. However, that would only make a good film if the acting was merely adequate. The acting is uniformly superb. Kasue Fukiishi plays Noriko so well, you don't realize she's acting. Likewise, Yuka (Yuriko Yoshitaka) and Kumiko (Tsugumi) also give great performances. This film is much more psychological than "Suicide Club", and for that it shines. I was almost breathless through parts of this, and I watched it on DVD. Its only recommended you watch "Suicide Club" first, buts it not essential, to get the gist of this powerful film. Who expects any film that is labeled a sequel to be much better than the first? I so highly recommend this film. It is actually one of my favorites. I expect great things from the three young actresses in this film. Based on their performances in this film, especially Ms. Fukiishi's, I know I will not be disappointed.

A sequel to 2002's cult-status film "Suicide Club", director Sion Sono's "Noriko's Dinner Table" tells the compelling and profound tale of the collapse and reconstruction of the family unit. The story follows Noriko Shimabara (Kazue Fukiishi), a seemingly unhappy teenager who lives with her mother, father, and younger sister. To escape reality, Noriko begins to regularly visit the internet site Haikyo.com, a BBS where she begins to chat with other girls just like her. One of the girls, known only by the title "Ueno54", persuades Noriko to runaway to Tokyo so they can meet in person. Noriko willingly accepts and escapes to Tokyo, wherein she meets the real person behind the mysterious Ueno54 and learns her true name—Kumiko (Tsugumi). What Noriko soon discovers is that Kumiko operates a "family-circle" program, which specializes in taking in young girls and giving them new personalities and families…

With the release of "Suicide Club", a film that explored the disastrous effects that an enigmatic cult had on an entire population of youth, director Sion Sono not only created a memorable horror film, but also provided some social commentary on Japanese youth. And while it was effective in what it was trying to convey, many viewers considered it a gory, albeit somewhat intelligent film. Sono decided to take a different route with "Noriko's Dinner Table", this time around taking out the unnecessary gore and replacing it with a more introspective stance. The film is split up into various chapters, each dedicating ample time to the film's characters. While this might seem distracting for a film such as this, it does the exact opposite—the first-person narrative of the characters allow the viewer to understand some of the decisions they choose, why they choose them, and what they hope to arrive at after the decision has been made. It's through these narrative perspectives that provided the truly captivating moments throughout the film, wanting to see the outcome of characters I have gotten to know.

Probably one of the strongest elements of the film is the cast. Since Sono's attention to detail is so prevalent in this film, the cast had to be right on the mark. And they do a remarkable job. The highlight of the film is Kazue Fukiishi. Her portrayal of Noriko is a sight to behold and her transformation from being a stubborn, rebellious teen to an overzealous, rather detached individual is masterfully done. Noriko's family—her father played by film veteran Ken Mitsuishi and younger sister played by Yuriko Yoshitaka—are fantastic in their respectable roles as well. Actress Tsugumi in her portrayal as the chilling and austere Kumiko also brings to mind the exceptional acting talent so vividly on display here.

While "Suicide Club" showcased a telescopic overview of the shadowy "Suicide Circle" cult, which showed the cult's negative influence on numerous individuals, "Noriko's Dinner Table" portrays, rather successfully, how the mysterious cult affects a single family. It's a film that touches upon various contemplative societal issues such as individualism, family structure, alienation, and mind control on an enormous scale. With the release of "Suicide Club" a few years back, director Sion Sono had something to say. With "Noriko's Dinner Table", he takes it a step further, raising questions to issues that are relevant and meaningful today. A totally absorbing experience, I highly recommend it.

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