Tomie Unlimited (2011) + Karate-Robo Zaborgar (2011)

Principal Theater
Sunday, 2011(e)ko Octoberk 30
/ 23:00
En idioma original
195 minutes

Save the Rhinoceros (2011). Malakias. Finland. 5 min


TOMIE UNLIMITED (2011). Noboru Iguchi. Japan. 85 min

My dead sister (who according to the script is much prettier than I am) got into the bath, where I am relaxing after my father (who I had surprised stroking her black hair whilst sweating like a pig) whacked me with a copper cable simply because it seems a bit strange to me that she is alive again after an immense steel bar went through her body (in this edition of the Festival this is not the only family that think it's logical that their dead kids come back from the Other Side). Dad will end up stabbing my dead sister, which will not prevent her from trying to steal my boyfriend who, after all, used to be hers. Oh yes and we're Japanese schoolgirls dressed as Japanese schoolgirls, playing the characters based on the legendary manga by Junji Ito. Elegantly directed by Noboru Iguchi, a gentleman with many registers. Remember that he made The Machine Girl and that he has also presented the story of the Mazinger Z motorbike at the Festival. I'm off. My sister has just eaten my friend.

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KARATE-ROBO ZABORGAR (2011). Noboru Iguchi. Japan. 105 min

Let's see, we didn't really expect a Wenders or a Lacuesta from a Jap production company called "Sushi Typhoon", did we? Well no, because among many other unconfessable companies, they are the friends that got going with Tokyo Gore Police and The Machine Girl. Only this time they've completely lost the plot (or even the whole picture) and, helped by the excellent Noboru Iguchi, the mate of the master of special effects Yoshihiro Nishimura, they have set up a right old mess, a definitively kitsch and monumentally incorrect commotion where a second rate motorbike turns into a Mazinger that does Thai kick boxing whilst evil and robotised women fire at the enemy from their breasts like Aphrodite (MZ's girlfriend) and the robots beat the humans off with jets of diarrhoea. Delicious, scrappy, pure plastic, cheap and cheerful and with bad sexual, social and political drool that devours it whole, it demonstrates once again that if the United States had destroyed Japan, Cinema would not have been the same.

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