Tetsuo: The Iron Man

18 05 2010

Some films are safely quirky, such as Little Miss Sunshine or Juno. Some films are odd or slightly disturbing, such as Brazil. Then there’s the nightmarish territory of Eraserhead, Videodrome and Tetsuo: the Iron Man, where plausibility gives way to perverse streams of consciousness.

So let’s get the David Lynch and David Cronenberg comparisons out of the way. Shinya Tsukamoto’s Tetsuo: the Iron Man shares a stark, black-and-white surrealist aesthetic with Lynch’s earlier work, as well as the body-horror theme that pervades every film of Cronenberg’s. But Tsukamoto’s approach is rooted more deeply in the cyberpunk genre, where technology consumes, devours and dehumanises, and his hyper-kinetic editing gives a whole different tone to this tale of man versus machine.

The plot is hard to describe without sounding insane. In short, a man runs into a metal fetishist with his car, and soon he himself begins transforming into a man-machine hybrid. But that’s only the start…
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