Gemini (Sôseiji) (1999) ***1/2
Gemini (Sôseiji) (1999) found Shinya Tsukamoto moving away from industrial-set sci-fi/horror to explore a dramatic period piece set in the late Meiji era (1910 in this story). Gemini, loosely based on Edogawa Ranpo's 1924 short story Sôseiji (The Twins), involves successful doctor Yukio (Masahiro Motoki), his amnesiac wife Rin (the striking and expressive Ryô)—whose past is unknown—and twin brother Sutekichi (also Motoki), who comes from the slums seeking revenge for rejection by his father and the unwitting betrayal of his brother.
Tsukamoto mostly lets the pace draw out slowly with only the occasional trademark visceral, frenetic camerawork. There are horrific scenes to behold (shots that remind me of Evil Dead (1981) (my review here) and Dead Ringers (1988) is also a clear influence) and moments of freak-out acting, but it's mostly a restrained affair—focusing on the drama and duality at play. What's really impressive is that Tsukamoto wrote, directed, shot and edited the film. The shades of blue, pink, purple and orange used create some truly memorable and darkly beautiful imagery.
There is a great, moody atmosphere to Gemini and I find Tsukamoto films fascinating. This one features incredible cinematography, strong performances, and an excellent and varied score by longtime Tsukamoto composer Chu Ishikawa (who has scored nearly every one of his films so far and who sadly passed away in 2017). Upon a rewatch, I can confirm that this is one of Tsukamoto’s best works and one worthy of revisiting.
You can find my Shinya Tsukamoto Films Ranked list here.
Tsukamoto mostly lets the pace draw out slowly with only the occasional trademark visceral, frenetic camerawork. There are horrific scenes to behold (shots that remind me of Evil Dead (1981) (my review here) and Dead Ringers (1988) is also a clear influence) and moments of freak-out acting, but it's mostly a restrained affair—focusing on the drama and duality at play. What's really impressive is that Tsukamoto wrote, directed, shot and edited the film. The shades of blue, pink, purple and orange used create some truly memorable and darkly beautiful imagery.
There is a great, moody atmosphere to Gemini and I find Tsukamoto films fascinating. This one features incredible cinematography, strong performances, and an excellent and varied score by longtime Tsukamoto composer Chu Ishikawa (who has scored nearly every one of his films so far and who sadly passed away in 2017). Upon a rewatch, I can confirm that this is one of Tsukamoto’s best works and one worthy of revisiting.
You can find my Shinya Tsukamoto Films Ranked list here.
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