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It’s officially the beginning of Halloween season and the end of the Japanese celebration of the dead, Obon. Obon is celebrated at different times in different parts of the country, though it is traditionally mid-August. I’m being a little flexible with the dates here, because I want to start doing an annual Obon-themed episode that focuses on Japanese folklore, horror, and the supernatural.
This episode is also an experiment — it’s my first solo episode of Eros + Massacre, which is something I’ve been planning to do for a while. For this one I’m discussing the horror genre’s lord and savior, Kiyoshi Kurosawa, the only person who should be allowed to make new horror movies.
For this episode, which I’m hoping will be the start of a recurring Kurosawa series, I’m discussing the horror movies and thrillers he made between 1989 and 1999: the special effects-driven haunted house romp Sweet Home (1989); his segment in the anthology film Dangerous Stories (1989), about a writer visited by homicidal ghost samurai with a boombox; the absurdist office slasher The Guard from Hell (1992); his effective body horror outing about an insurance saleswoman, Door III (1996); the sublime Cure (1997), contender for scariest film of all time; deconstructed revenge thriller Serpent’s Path (1998) and its wonderful sequel, Eyes of the Spider (1998); his segment about a malevolent tree spirit attacking high school students in the anthology film School Ghost Story G (1998); and his interpretation of absurdist folk horror, Charisma (1999), about a polarizing tree.
