a review of 双生儿

HOOPTOBER OCHO NIGHT TWENTY-NINE Maybe the most restrained Tsukamoto film I've seen, at least in the early sections where we see the main character's home and work life, where everything from the color palette and sound mix are very pointedly muted. When the setting opens up later on and we see the slums and the people, suddenly the movie kind of roars to life with all of the chaotic colors and wild costuming and camerawork and sound that we expect from Tsukamoto. I think I need to see this one again to get the full impact of the choices that he makes here, but on a first watch it was very good.