Screams of Blasphemy

Early ‘90s Japanese cyberpunk. The sole element Fukui’s hyperkinetic version of “Pinocchio” shares with Collodi’s classic children’s novel (1883) is the protagonist’s name – which is actually the lettering stamped on his back. He’s something between an android and an insane alien who escapes from an institution whose mission seems to be producing products capable of satisfying the most bizarre erotic requirements of its peculiar clientele.

The result is a frenzied film with a chaotic plot that manages to achieve its goal of delivering a consistent level of discomfort thanks to both its harrowing depiction of a technologically advanced but highly depersonalized megalopolis in which indifference and filth are the order of the day, as well as its hyperbolic emphasis on disgusting subject matter (vomit, exudate, and trash in industrial quantities, obviously).

From a more formal point of view, this film owes much to Tsukamoto’s early oeuvre (it would be impossible not to think of the renowned “Tetsuo”, although “Pinocchio” pales in comparison). The iridescence and explosiveness of revolting organic fluids, however, brings to mind the mythical late ‘80s urban nightmare “Street Trash” (1987).

Definitely not for everyone.