Welcome to Knockout Horror. We are back with another addition to our J-Horror month feature today as we check out Shin’ya Tsukamoto’s harrowing tale of a woman’s life spinning out of control – Kotoko from 2011.

I have been fairly absent, recently, due to being super busy which has meant I haven’t put nearly as much effort into my J-Horror month feature as I originally intended. I am going to extend it a fair bit to make up for it, however. As I really wanted to bring you a few reviews on Japanese horror movies that went under the radar. One of those is today’s movie, Kotoko.

Harrowing J-Horror

Kotoko follows the story of a young, single mother, played incredibly by singer Cocco. Kotoko has a condition that causes her to see two versions of a person, one good, one evil. Unable to trust people and full of paranoia. Her life begins to spiral as she struggles to raise her child. Sending her into a cycle of self destruction that threatens to take everything away from her.

A screenshot from Japanese horror movie Kotoko (2011)

When we talk about J-Horror, the first thing that comes to mind is, more than likely, paranormal ghost stories and vengeful spirits getting up to no good. The truth is, however, Japan has put out a huge amount of horror movies that simply act as character studies of people who are a little bit different from the norm. Take Takashi Miike’s Audition, for example, or Ichi The Killer. It just so happens that the movies that translated well to the West are those that are built on supernatural foundations.

Kotoko is one of those character study movies that may not resonate so well with Western audiences. It focuses on a character who is somewhat atypical with regards to how she lives her life. She chooses to be single, she isolates herself, she struggles with mental illness and she self harms profusely. The big difference, here, however, is just how intimate Shin’ya Tsukamoto’s story of mental decline feels. You basically spend the entire runtime sharing a room with Kotoko and suffering along with her.

A Unique Style

Much of this intimacy comes from Tsukamoto’s unique approach to filmmaking. Many of his movies feature a handheld camera that affords the picture an almost “Found Footage” quality. Lending a closeup viewpoint to the person watching and creating a claustrophobic relationship between character and viewer. Few other horror movies feel quite like Kotoko.

Whether that is a good thing, or not, is in the eye of the beholder. Tsukamoto’s style is both chaotic and, at times, quite ugly. Sure, it is very deliberate but the spasmodic camera movements are certain to frustrate even the most open minded of viewers. Especially when said character breaks focus, leading to a wild goose chase between subject and frame.

Still, it’s impossible not to appreciate the feeling of intimacy this approach creates. You almost feel as if you are there with Kotoko, reacting to her frequent struggles. The wild camera shaking reflects the chaos of her life. When Kotoko is doing its best impression of a standard movie. It is truly beautiful with some absolutely stunning shots. Well, when the story isn’t taking us to some horribly dark places, that is.

Truly Shocking

Kotoko’s main desire, in the film, is to be reunited with her child. She loses custody to her sister as people suspect her of child abuse. Leaving her alone and increasingly despondent. Her attempts to prove that she is a capable mother form the basis of the story. They also, in turn, form some of the film’s most shocking scenes.

Kotoko is one of those movies that shows not a single lick of fear when it comes to depicting harrowing subjects. Kotoko, herself, is suffering from a horrifying mental illness. In fact, life only appears normal to her while she is singing. As the movie goes on, she sinks further and further into delusion. Becoming less and less sure of what is real and what is fake. She self harms to cope and this is depicted in graphic, wince inducing, fashion.

As her delusions spiral, a chance meeting with a man leads her to even further acts of violence. Most of which we only see the result of. The practical effects, here, are all too authentic. Lending a sense of realism that inspires serious feelings of disgust. It’s later in the movie, however, when Kotoko’s delusions begin to torment her to a point of being genuinely horrifying. With one scene, in particular, being among the most shocking I have ever seen in a horror movie. Needless to say, anyone with an aversion to depictions of harm to children should steer clear.

Two Sides of a Coin

The entirety of Kotoko acts to, almost, contradict itself. Whether it is the stunning shots of Kotoko dancing in the rain. Brutally contrasted against the ugly, up close, wildly spasmodic shots of her experiencing panic. The protracted and unnecessary side plots taking away from the all too quickly forgotten earlier plot elements. The scenes where she gently sings to the camera placed up against the scenes where she is shouting and screaming. Or even the intimate character study of a person suffering versus the rampant display of needless violence and overly detailed depictions of gore.

Kotoko is a movie that is both beautiful and ugly. Pointless but necessary. Moving yet inspiring disgust. It’s a strange exploration into something deeply personal and it is almost impossible to judge it fairly, due to that. It’s one of those films that you certainly don’t watch for fun. Sure, it will probably garner a chuckle out of you, here and there. But you won’t walk away from it feeling happy. You may even wonder why you bothered at all. But I am going to wager that you will be thinking about it long after it is done. Isn’t that the point of movies?

Should You Watch Kotoko?

Kotoko is a movie that is rather shocking, will be upsetting for some, is overly long and drawn out, isn’t particularly entertaining and doesn’t even tell a story that is all that interesting. With that being said, as a character study into someone suffering from serious mental illness. There are few movies that capture the experience in such unflinchingly brutal detail. Cocco is sensational in the lead role. Camera work is both stunning and ugly. The whole thing is difficult to watch but hard to turn away from. It’s almost impossible to even call it a good movie. It is an experience but, most definitely, not one for everyone.