Onibaba

Kaneto Shindo’s Kuroneko — released to great acclaim in 1968 — is a sparse, atmospheric horror story, ascribing to the director’s philosophy of using beauty and purity to evoke emotion. Eccentric and more overtly supernatural than its breakthrough companion piece, Onibaba (1964), Kuroneko revisits similar themes to reveal a haunting meditation on duty, conformity, and love.

Filmed on the virtually deserted Setonaikai archipelago in south-west Japan, The Naked Island was made — in the words of its director — “as a ‘cinematic poem’ to try and capture the life of human beings struggling like ants against the forces of nature”. Kaneto Shindo, director of Onibaba and Kuroneko, made the film with his own production company, Kindaï Eiga Kyokai, who were facing financial ruin at the time. Using one-tenth of the average budget, Shindo took one last impassioned risk to make this film. With his small crew, they relocated to an inn on the island of Mihari where, for two months in early 1960, they would make what they considered to be their last film. The Naked Island tells the story of a small family unit and their subsistence as the only inhabitants of an arid, sun-baked island. Daily chores, captured as a series of cyclical events, result in a hypnotising, moving, and beautiful film harkening back to the silent era. With hardly any dialogue, Shindo combines the stark ‘Scope cinematography of Kiyoshi Kuroda with the memorable score of his constant collaborator Hikaru Hayashi, to make a unique cinematic document.