On The Cultural Gutter, I’m taking a look at diversity in science fiction. Specifically, Syfy Gets Diverse looks at the Syfy Channel television shows Killjoys, Dark Matter, Defiance, and The Expanse, all of which feature gender and racially diverse ensemble casts.
Over on The Cultural Gutter, In This Green and Pleasant Land examines Children of the Stones, regarded to this day as one of the smartest, weirdest, scariest slices of children’s television programming ever produced.
Before there was Emmanuelle, there was Emmanuelle. Emmanuelle Arsan, to be slightly more precise. Marayat Rollet-Andriane to be even more precise still. Born Marayat Bibidh in January 1932, in the city of Bangkok, she was the real-life Emmanuelle, the one on whose life the novel Emmanuelle was based.
Ghost stories wend their way from Noh, Kabuki and the Bunraku puppet theater all the way through “J Horror” and the vengeful ghost ladies with invasive hair of today. There are many tales of love, bitterness and vengeful ghosts, but like a certain Scottish play, Tokaido Yotsuya Kaidan is unique in having a curse associated with it.
The surreal swirl of stark futurism, psychedelia, and neon indulgence is…pleasantly overwhelming? Comfortably disturbing? Certainly it’s something that demands one’s attention even as it lulls you into a fugue state.
Unfortunately, the remainder of the film’s obsession with mythology building and referencing previous films results in a tangled mess that, despite being over two hours in length, still feels like an hour of the film is missing.
A crumbling ruin. A mist-shrouded forest. A lone samurai making his way home late at night meets a seemingly defenseless young woman. So begins the horror of Kaneto Shindô’s tale of ghosts, vengeance, and the wrongs visited upon women by entitled men.