Adrift in Tokyo (2007)

Takemura (Joe Odagiri) is an average loser, not completely shameless but more than willing to stoop or weasel if the situation calls for it. When a capable debt collector (Tomokazu Miura) offers Takemura a solution to his financial situation, an unusual but ostensibly harmless alternative to punishment, the indebted loser has little choice but to accept. He understands the request on a literal level, but there's more to be gained than he can know.
I adore these kinds of films, simple character studies that have no need for CGI support, that achieve their objective in an adroit way that's quirky but not like an overindulgent Jeunet bomb. Adrift is a fine addition to the genre.

3½ spicy straits out of 5

Princess Raccoon (2005)

Dir. Seijun Suzuki's final film is a vibrant and bonkers spin on a well-known Japanese folktale about a human male and a beautiful shape-shifting tanuki princess. The human (Joe Odagiri) is the son of a Lord, banished from his home on account of being more handsome than his jealous father.
Like the titular princess (Zhang Ziyi) the film isn't fixed in any one particular form. It's varied, a traditional film one minute, a kabuki-esque production the next, or even something resembling a picture book brought to life with the unreality of chroma key occasionally working in its favour! A number of differing musical styles add further strangeness and character.
The trailer should be enough to either intrigue or repel you, so it's perhaps a good idea to check it out before diving into Suzuki's madness feet first.

3½ jewelled tears out of 5

Air Doll (2009)

The story of an average Japanese worker’s love doll coming to life is a bizarre premise, I admit, but the result is a fantastic film.

She awakens to the world without prejudices, sees it with new eyes and an emotional state that’s untainted by years of modern living. Through her we meet a small number of lonely people with secret lives, people who do no harm to anyone but exist on the fringes, for whom the city is a collection of impersonal aspects and cold, unknowable faces.

The story does most of what you’d expect it to do but with so much heart ingrained in the subtext that it touches perfection many times.

4½ deep breaths out of 5

Azumi (2003)

A live action film adapted from Yū Koyama’s chanbara manga of the same name. I’ve not read the manga, so a direct comparison is out.
Azumi is trained from a young age to be an assassin. She’s delicate but deadly, like a dip-dyed flower with barbs hidden beneath the beauty. Her only flaw is that her emotion fights often with her instinct.
We’re informed from the outset that the fantastical plays an important part, so leave a desire for realism at the door before entering.
I got the feeling more than once than Kitamura wanted to make a Ninja Scroll (1993) movie, but maybe that’s what the Azumi manga is like?

3 mounds of dirt out of 5

Mushishi (2006)

A mysterious and occasionally eerie live action adaptation of the long running manga. The film follows Ginko, a Mushishi (bug master), as he travels the land healing ailments, restoring the natural order where he can.
The bugs of the title aren't your typical garden variety creepy crawlies, they’re an ethereal essence that exist tenuously, visible to certain people.
Ginko’s story has relevance to the stories of the people he meets on his journey, and by helping them he begins to help himself.
It drifts off course a little but always finds its way back. I was fully enchanted by the fairytale nature of it all.

3½ healing lights out of 5