“Imprint,” Takashi Miike’s snuff film “Rashomon”

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By R. Emmet Sweeney

IFC News

Of all the bloody stumps and bared bosoms of the “Masters of Horror” series on Showtime, those depicted in “Imprint” were a bit too bloody and bare even for indulgent cable execs (the discarded fetuses were rumored to have been the tipping point). Banned from airing during the series’ run in the U.S. (it aired on Bravo in the UK), Takashi Miike’s snuff film “Rashomon” finally hits our shores thanks to this week’s loaded DVD release. As with all of Miike’s voluminous output (he has three other ’06 films on his resume), it’s a mixed bag — with scenes of genuine terror, outrageous camp, and stomach-turning violence.

“Imprint” was adapted from the Japanese horror novel “Bokee Kyotee” by Shimako Iwai — a straightforward tale of past misdeeds haunting the present. American vagabond Christopher (Billy Drago) travels to a remote island/brothel to find the woman he loved and lost, Kimomo (Michie Ito). In her place he finds a nameless prostitute (Youki Kudoh) with a facial deformity who informs him how Kimomo died. She changes her story multiple times, with each alteration depicted in flashback. Soon both of their histories are excavated, and it’s a nasty, vicious, and viscous business.

The time period is strangely ahistorical, with Edo period architecture clashing with electric paper lamps. It feels like a whorehouse for the modern tourist, where one can get the kicks of old-time misogyny with the comforts of the industrial revolution. It is a bit of a dream world — an unreality the actors bring into their work. Drago (“The Untouchables”) has one of the great under-utilized faces in Hollywood. Cavernous, skeletal, and strikingly blank, his stare is its own slasher flick. Utilizing this strength, Drago’s performance is akin to pantomime, marking each emotion with wide loping gestures over his guttural drawl. It’s highly theatrical, and clashes with Kudoh’s more naturalistic approach (until her head is peeled back, of course).

Amazingly, Kudoh is the only actor in the film who could speak English (other than Drago). Everyone else learned their lines phonetically from a linguist. This lends a disembodied quality to their performance, and it’s either a brilliant reflection of their loss of humanity, or just an extremely cheap way to hire actors. Probably more of the latter, but selected moments pay off: especially with the repeated scenes of the Buddhist monk speaking to Kudoh’s character as a child in flashback. He unrolls a parchment depicting the tortures of hell, and says, “Pretty scary, huh”, stuttering over the “s” in scary. It’s funny but laced with menace — and during the second flashback the undertones in the scene become even more ambiguously evil.

Miike can’t abide ambiguity long, so there’s a torture set piece to put us cerebral folk in our place. It is epic cruelty, inflicted upon Kimomo by a jealous older prostitute (curiously, played by the book’s female author Iwai). It’s pulp exploitation that would fulfill any adolescent male’s fear and loathing of femininity (in an interview on the disc, he said only lonely rural kids in Japan watched his films before he became a cult star overseas), but one can’t deny that it’s bravura filmmaking — meticulous in its structure and its violence.

The DVD is packed with extras that are actually worth watching, including an hour-long interview with Miike (hilariously titled “I Am the Film Director of Love and Freedom”), where he talks about being pigeonholed as a horror director in the West, and his refusal to refuse any project offered to him. Also included is a making of doc, a feature on the makeup, and audio commentary by American Cinematheque programmer Chris D. and writer Wyatt Doyle.


New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…


IFC: How would you describe Neurotica to a fancy network executive you met in an elevator?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. 

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number! 

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time. 

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by. 


IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo. 

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim. 

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t? 

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?” 

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud. 

See the whole season of Neurotica right now on IFC’s Comedy Crib.


The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”


Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).



Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.


And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.


Get Physical

DVDs are the new Vinyl

Portlandia Season 7 Now Available On Disc.

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GIFs via Giffy

In this crazy digital age, sometimes all we really want is to reach out and touch something. Maybe that’s why so many of us are still gung-ho about owning stuff on DVD. It’s tangible. It’s real. It’s tech from a bygone era that still feels relevant, yet also kitschy and retro. It’s basically vinyl for people born after 1990.


Inevitably we all have that friend whose love of the disc is so absolutely repellent that he makes the technology less appealing. “The resolution, man. The colors. You can’t get latitude like that on a download.” Go to hell, Tim.

Yes, Tim sucks, and you don’t want to be like Tim, but maybe he’s onto something and DVD is still the future. Here are some benefits that go beyond touch.

It’s Decor and Decorum

With DVDs and a handsome bookshelf you can show off your great taste in film and television without showing off your search history. Good for first dates, dinner parties, family reunions, etc.


Forget Public Wifi

Warm up that optical drive. No more awkwardly streaming episodes on shady free wifi!



Internet service goes down. It happens all the time. It could happen right now. Then what? Without a DVD on hand you’ll be forced to make eye contact with your friends and family. Or worse – conversation.


Self Defense

You can’t throw a download like a ninja star. Think about it.


If you’d like to experience the benefits DVD ownership yourself, Portlandia Season 7 is now available on DVD and Blue-Ray.