Tsumetai nettaigyo (2010)
★★★★ / ★★★★
When Mitsuko (Hikari Kajiwara) was caught shoplifting by a store manager, he called her father, Syamoto (Mitsuru Fukikoshi), and stepmother, Taeko (Megumi Kagurazaka), before calling the police. But when Murata (Denden), the store manager’s friend who happened to be on the same tropical fish business as Syamoto, came barging in the office to brag about his gigantic rare fish, he persuaded that the police needn’t be involved. Syamoto and his family were very grateful, but Murata wasn’t as generous a man he seemed. Behind his fish business, he and his wife, Aiko (Asuka Kurosawa), murdered people for money. Written by Shion Sono and Yoshiki Takahashi, “Tsumetai nettaigyo,” also known as “Cold Fish,” was an exercise on how a family, through a paternal figure, needed to be shaken up by horrific events in hopes of breaking out of their rut. Mitsuko was a wild teen who didn’t have an ounce of respect for her parents. She beat her stepmother without remorse and considered her father as a joke. Hoping that she’d change for the better, it was no wonder her guardians agreed for Mitsuko, equipped with free room and board, to work for Murata. The father was partly to blame. He was too lenient. If I was a teenager and got caught stealing from a store, my parents would throw a fit. When Murata allowed Mitsuko off the hook, there was not one scene where the father attempted to discuss with his daughter why what she did was unacceptable. We should be disturbed by that lack of proper parenting. The filmmakers made sure that the family drama was deeply rooted in reality before diving into the excess of gore, perversity, and dark comedy. The murders and step-by-step ways to make a person “invisible” didn’t leave much for the imagination. Once the victim had been poisoned, he was taken to a remote location, a shack next to a church, to be chopped into manageable pieces. Red liquid flooded the bathroom floor like sickness, organs were everywhere, and body parts that were still whole glistened in morbidity. However, it was mostly done in a comedic way. For instance, a silly, playful music would play in the background as someone desperately gasped for air. Close-up of the Aiko devoid of reaction, almost somnolent, because she’d seen a man struggle for his life more than she could count. As Syamoto was forced to dispose human meat in the size of chicken nuggets by the river, Murata would enthusiastically say things like, “You’re doing a good job!” and “The fish will be happy!” Shion Sono, the director, paired violence with sex. The physical act meant differently for each character. For instance, Taeko considered it a way to escape her miserable marriage while Aiko held it a symbol for being wanted. I admired “Cold Fish” most because I felt like it wasn’t restrained by anything. It was able to make a statement, with clarity, about how we live and the powerful elements that influence, consciously or otherwise, our decisions. It was a lesson in responsibility.
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