Point R in Infinity Space Shy, downtrodden by everyone and everything, and immersed only in himself, the Japanese teenager Yuki spends all his conscious and free time on the expanses of the world Internet web, involuntarily turning himself into a kind of sexually preoccupied predator from the variety of mimicking under the unassuming stealth of arthropods. When he is tired of just getting his sinister stalkership through the Internet inaccessible to him attractive peers of the breed “golden youth”, he decides to kidnap, taking hostage, not without a certain material interest in the same, the girl Reika and her friend.
In Japanese literature and cinema, if we take the countdown not from the time of the shogunates, but from the twentieth century, when Japanese society was under pressure and trends of Westernist moods, as a result of which led to the deepest socio-cultural and political-economic crisis, which subsequently exploded as a total fascism of the newly created on the fragments of the old empire, and its complete collapse with humiliating and destroying coercion to peace, nevertheless, one of the dominant themes is the assimilation into the deepest social processes of young people, which, as well as the total fascination of their life and sociological principles, is especially present in the path of school. In the end, Japanese youth, like any other, experience the same problems of finding themselves in the world around them, their way and realizing who is who, like any other - Russian or American, for example, but sometimes (and recently more and more often) Japanese youth, whose problems turned to different segments of historical periods and Kenzaburo Oe, and Ryunoske Akutagawa, and Akira Kurosawa, and Kobayashi with Midtsoguchi, and, of course, Takeshi Kitano, whose film "The Guys" became a shock stage of the Japanese, orientees, they were still waiting for those who were shocked in the Japanese school for such a long time, and who did not get such a Japanese education in Japan, but who were already in the past, and who were not afraid of those who were still in the school of the past 30 years, and who were shocked by the Japanese, and who were shocked by those who were still in the Japanese, and who were not able to find themselves in the Japanese, and who were still in the modern age of the Japanese, and who were not yet to be shocked by the Japanese, who were not In the cinema, such a harbinger was the independent and instantly scandalous debut picture of the Japanese director and screenwriter Katsui Matsumur All Night Away in 1992, which opened without anesthesia all the wounds of Japanese youth who became hostages due to the circumstances of excessive fanaticism of their fathers, alienated from their own children, abandoned in fact in large cities at will, and deprived of any norms of habitual behavior. And, if the first film became a provocative author’s statement, then all the subsequent tapes of Matsumura-san from the cycle “All Night Away” in 1995 and 1996 were already purely speculative and manipulative, exploitative reification of the theme set in the first tape, telling without a shadow of censorship that in any Japanese tycoon-glasses lurks a demon himself, who cannot be expelled forever.
In the new millennium, starting in 2000, when Japanese society began to be inexorably drowned in the abuse of minors not only over peers, but also over individuals much older (then the criminal chronicle is thoroughly shocking), Matsumura decided to continue his franchise All Night Away, which brought him not so much fame and laurels as prohibitions and accusations of lying, exaggeration and perversion, and in 2002 the film All Night Away 4 was released, which, at first glance, was not much different from the films of previous ones. But only at first glance.
With the obvious refrain of the plot opening, introducing viewers to the central antagonist of Yuki's tape - a typical reclusive and outcast - "All Night Away 4" seeks to move away from the super-cruel and ultra-realistic nature of the films of the first trilogy. Matsumura no longer focuses so much on the extreme cruelty of what is happening on the screen, only a couple of times turning on the merciless brutality with cutting off limbs and an underlying pedophilia burdened with a necrophilic ailment, most of all implementing in the film the idea that life and cinema should be undivided parts of a single whole. 'All night long 4' is a highly concentrated, unrehearsed reality played out in the crimson tones of a slow social black. Slow in its stylistics so that it seems sometimes that the frame freezes in comatose unconsciousness, melting and smoldering, and the cinematic language of the director, already full of austerity, sinks in mute. Evident in the picture is the message that the worst nightmare in the world is a nightmare of total silence, full blind consent to the degradation generated by the sleep of a sick mind that can give birth to only monsters. Yuki’s metamorphosis – of an external order, not an internal one – rhymes with the Kafkaesque space of alienation, and the antihero becomes one way or another the hero of his time, which is characterized only by the path to success at any cost and the absence of moral principles. The film ceases to be purely Japanese, becoming socialized and universal, because there are many small nothings who create everything they want all night long, although only in Japan with its specific features of mentality pathology is not always recognized as such.
And far worse is not that Yuki is already lost for society and cannot be saved, but that society itself did not even try to find the key to it, preferring to forget about the silent grain of sand in the whole human ocean. And the payback for blindness is that Yuki takes revenge not only on the entire female family, who rejected and belittled him, but on everyone and everyone who is guilty of his fall into the abyss and transformation from ordinary sloshly into a monster that knows nothing human. People for him are only such red designers, who are interesting to disassemble with a scalpel, part of his monumental experiment, which, in the end, will destroy him.
6 out of 10