Back in 1986, Shinya Tsukamoto began producing short experimental films with science fictional themes. One of these films entitled “A Phantom of Regular Size” featured a man living in a dystopian Tokyo being pursued, infected and ultimately transformed by a cybernetic spirit of the age, a woman in dark glasses and immaculate tailoring who could have stepped right out of The Matrix almost a generation later.
Phantom went on to form the backbone to a series of feature films that brought Tsukamoto to the attention of a global audience. Tetsuo: The Iron Man, Tetsuo II: The Body Hammer, and Tetsuo: The Bullet Man are all attempts to communicate what it felt like to be a member of the Japanese middle-classes at the end of a period of unprecedented economic growth that had completely transformed Japanese society in the space of a generation. These films portray the Japanese as a people worn down by the technologically sophisticated society that they themselves constructed. The opening scenes of Phantom are of a man in a subway convulsing with anguish as trains roar past like the blades on an enormous mincing machine. Every passage shaves away another ounce of humanity until there is nothing left but a host for technological infrastructure, as though the machine that had robbed the Japanese of their humanity was now putting them to work debasing and infecting the people around them. The early Tetsuo films not only diagnosed the sickness that was the late-20th Century Japanese experience, they also articulated what that sickness felt like by using imagery inspired by science fiction and horror.
Tsukamoto’s Kotoko feels a lot like a companion piece to the early Tetsuo films but rather than grappling with feelings of rage and alienation brought on by the experience of living under capitalism, Kotoko is all about articulating what it feels like to be a mentally ill single mother.