H σεξουαλικά στερημένη από το σύζυγό της, Ρίνκο, εργάζεται σε τηλεφωνική γραμμή αποτροπής αυτοκτονιών. Ένας άγνωστος την παρακολουθεί συστηματικά και τη φωτογραφίζει να αυνανίζεται. Εν συνεχεία την εκβιάζει και μέσω κινητού τηλεφώνου την καθοδηγεί σε ένα πρωτόγνωρο σεξουαλικό ξύπνημα.
Η «Φίδι του Ιουνίου» παίζεται σε 1 σινεμά στην πόλη Λος Άντζελες — επόμενη προβολή Δευτέρα 17 Αυγούστου στις 19:30 στο Academy Museum of Motion Pictures.
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An surreal thrillfest exploring sexuality and erotic corruption, filtered through an incredibly wet and humid monochrome blue and evoking Lynch/Cronenberg mind bending of the highest order. Absolutely stunning and very much my kind of perfect Tsukamoto jam—blue.
I wish all movies were this horny, blue and only 76 minutes long.
I still hold the hypothesis that Tsukamoto is following a thematic trend of animalistic dehumanization, this time exploring a perspective of self-destructive sexuality disrupting the ordinary and plain lives of a married couple. Following his stylized, black-and-white neo-noir bullet ballet featuring his directorial trademarks and a climactic bloodbath, we now enter a blue monochromatic surreal nightmare with thriller elements that shreds humanity into pieces of voyeurism, sexual impulses and the desire to live and stop suffering. Extramarital sexual desire is summarized in a form of self-humilliation. The result is a sense-assaulting psychological cataclysm which inner turmoil is metaphorically represented by the tumultuous rainy weather invading every frame. Even if one analyzes the storytelling structure, you can see the influence that Tsukamoto imprinted on other contemporary directors like Sion Sono, from the build-up to a climax (pun intended, maybe) which impactfulness surpasses the escalating mood established previously.It is, by nature, a technical experiment but it is also a psychological essay at its core, astonishing by its uncommon boundaries despite how constrained it is by its running time. It explores its ideas concisely, minimalistically and goes straight to the point with no fillers whatsoever, offering imagery that assures to remain permanently glued to the conscious side of the mind.97/100
The film follows Rinko, a woman trapped in a loveless marriage who becomes entangled in a dangerous game of psychological blackmail with a mysterious stalker.
Shinya Tsukamoto, the Japanese filmmaker known for his unique contributions to body horror and cyberpunk, directed the film in 2002.
While primarily categorized as a psychological thriller or erotic drama, it retains the intense, unsettling stylistic hallmarks of the director's more visceral genre works.
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