KOTOKO

Kotoko is a woman who lives alone with her young son, but she has a particularity: she sees people split into their good and bad parts. Because of this, the family situation soon deteriorates and Kotoko has her child taken away, who is entrusted to her sister. Thus begins a process of self-destruction for the woman, whose only desire remains that of getting her little one back. After being presented (and well received) at the 68th Venice Film Festival, "Kotoko" in Italy has disappeared, no theatrical release, no DVD, and no TV broadcast. Perhaps because an Eastern film with no big name is not a potential gold mine, perhaps because a low-budget product does not make the average Italian's mouth water, or perhaps because the subject matter is not one of the easiest, being a taboo not yet fully overcome: infanticide. Certainly, what did not make the film "appear" was the combination of all these elements, the fact is that "Kotoko" in Italy did not come out and probably will not come out, and to this we add a "unfortunately" because "Kotoko" is an excellent work; as disturbing and "dark" as few recent productions. The story is a journey into the mind of the protagonist, the reality that is presented to us passes through her mental filters, presenting normal routine days as true open-eyed nightmares. The film is entirely shot with a handheld camera, which helps us even more to enter the irrational and (self)destructive vortex of Kotoko; we are shown scenes that happen only in the protagonist's mind and others that are real without seeming so, continuing to question what, of what we are seeing, is real and what is not. Particularly strong are then some scenes like the cuts that Kotoko herself inflicts on her arms to feel alive or the sick but at the same time compassionate and dramatic "sentimental" relationship between the protagonist and a famous novelist. Even on a technical level, everything is aimed at immersing ourselves in this mood: from the handheld camera to the white balance, to scenes sometimes underexposed and others overexposed, communicating how much "perfection" stylistic does not belong to the director's world but especially to Kotoko herself. The images must be recorded immediately, as they are, without technical improvements and embellishments, there is no time for this, Kotoko continues to see and live the world and what we see must be captured, before it slips away. Perfect is the character of the protagonist with whom we never really manage to connect but for whom we feel a continuous sense of anger mixed with strong compassion. Speaking of the cast, the film is entirely supported by the actress Coco ("Vital: Autopsy of a Love") who is practically perfect in rendering what the film requires, while Shin'ya Tsukamoto (director of the controversial "Tetsuo" and its sequels) is here both actor and director. Another note of merit for the ending, heart-wrenching to interpret (although to a certain point). "Kotoko" will certainly not be appreciated by everyone, in fact, but surely few will remain indifferent towards it.