2021
Directed by 塚本晉也
塚本晉也在《鐵男》之後，大幅改編漫畫家諸星大二郎短篇作品〈海竜祭の夜〉的商業恐怖喜劇，讓鐵男移行賁發的主觀視角，轉殖成人頭蜘蛛潛伏驚嚇的怪誕趣味。有別於原作諸星大二郎民俗誌怪、時常四兩撥千金留有伏筆韻味的中短篇作品，《怪談比留子》的突梯滑稽 B 級感像是舊版《鬼玩人》系列，但更加上「蒸氣龐克思春期風物詩」的調調，可以說是校園版的鐵男，與 80 、90 年代的日式青春奇幻恐怖作品，比如《超少女玲子》、《世紀末暑假》、大林宣彥的《鬼怪屋》、相米慎二《颱風俱樂部》同一路線。當其他作品更集中於少女主角的成長物語（處理自身的「魔性」、「性」），《怪談比留子》關注的是少年，叔伯或父親缺席失格的狀態，男孩怎麼在這個奇異暑假長大：面對搶奪喜愛女孩的臉的怪物，少年也同理於它嚮往著外面的世界－－像塚本晉也的《ET》？不屬於塚本晉也最好的的那些作品，但在各種層面它的怪令人感傷、玩味又好笑。
A wealthy scion whose life is taken over by a mysterious doppelgänger, a lonely young wife who encounters a peeping tom, an alien monster crawling out of an ancient tomb, the gradually dissolving boundary between human and machine... Cult master Shinya Tsukamoto uses his wildest imagination as raw material, seasoned with body horror, to present a blood-soaked feast that leaves audiences squirming.
I remember the summer break of my sophomore year—because I took over organizing our department’s cinema festival, I decided to stay in the school dorm all summer, immersing myself in a personal, sensory journey of film appreciation. One afternoon in the campus library, I randomly picked up Tsai Ming-liang’s The River. To my surprise, it quietly and calmly depicted the atypical family experiences I had kept buried deep inside. That film stayed with me—a teenager full of anxiety about life, unsure whether I could truly take responsibility for myself—through those idle, languid summer days. Back then, there was no fiber-optic internet, no AI-powered smartphones. Just light and shadow, casting a humorous yet absurd gaze upon the hardships of reality. So here I am, recommending this film—let yourself sink into the dreamscape of its story, and let it echo the realism of our own lives.