Seraphim Nights

A sense of identity - sexually, ethnically, professionally - and as an extension of this assurance, the sense of belonging to a group plays a central part in an individual's self-image. In many cultures, belonging to a group is of primary importance, often based on survival, while we in, say, Western Europe tolerate dissidents from the collective in another way. Individuals who choose to stand outside can do so without problems of condemnation from other people or from their own superego. The situation is different in Japan; the interests of the collective are of greater importance than the individual's, both in great and little things - which is historically a result of the country's isolation, its limited resources and an ancient tradition of rank and class divisions. At the same time, there is little understanding for foreigners (''gai-jin'') and their traditions. A group that is especially hard hit by this are the Japanese citizens who originate from the former colony, Korea. In society at large and privately these (''Zainicni'') occupy the lowest position in the hierarchy. This is the central theme in Seraphim Nights by the (previously unknown to me) director Banmei Tallahashi, who outside of festivals in Western Europe has never before been shown. This suggestive and fascinating film would, using the simple and brutal new-language of film marketing in Sweden, be classified as an ''erotic thriller''. This is correct on one level: the erotic scenes have a power and intensity reminiscent of fellow countryman Nagisa Oshima (Empire of Passion etc). Before Takahashi began working with ''ordinary'' feature films in 1982, he had directed erotic films for ten years. The boundary between sex films and ''ordinary'' feature films in Japan is not as clearly defined as in the West. The thematic and visual complexity Takahashi displays in Seraphim Nights shows, however, that he has taken a giant leap out of the domains of sex films. Apart from the emotional and sexual tension in the relationship between the female Japanese art teacher, Ryoko, and the ''yakuza'' gangsters Tatsuo and Kim, Takahashi gives an empathetic and penetrating account of their constant feeling of alienation from and inferiority to the spirit of community that the native Japanese have. Seraphim Nights is as interesting visually: Takahashi uses dark colours and bright lighting with long gruelIing tracking shots varied by quicker edited sequences. A fascinating film with elements that really test the nerve's of the audience. JB

Premiärstatus
Internationell premiär: Orig. titel
Seraphim no yoru: Medverkande
Itsumi Ohsawa, Hakuryu, Hidetoshi Nishijima: Producent
Satoshi Kanno: Manus
Shohko Shikamizu & Sho Kenzan, based on the novel by Mangetsu Hanamura: Foto
Yuuichi Nagata: Musik
Toshiyuki Honda: Talat språk
Japanese