During the shoot of the low rent idol show of Mirai Shida (playing herself) with special guest Haruna Kawaguchi (playing herself too), something disturbing happens. The show’s gimmick of the week is to have the two teenagers watch ghost videos, but the videos that appear on screen aren’t the ones the director and the girl’s manager have vetted beforehand.
In fact, these videos contain much better footage than this sort of video usually does, and they all seem to be shot at Haruna’s former junior high school, which must be the most haunted school in Japan. Oh, and the videos continue playing when the DVD they are on isn’t actually in its laptop anymore. Haruna, who spent some time at her junior high hunting but never finding exactly the ghostly apparitions she now sees on screen, is convinced she is cursed, an idea that does not become weaker once the crew films the reflection of a female ghost in one of the studio windows.
Clearly, this situation affords a fine possibility for the show to hire the world’s most matter of fact psychic (who, we will learn, is psychic, not a mind reader) to help Haruna and finally get some really exciting footage. Alas, the psychic is sure that Haruna’s little ghost problem can only be solved inside of the junior high. Of course, once the film crew is inside the place, they’ll get to see more of ghosts than they asked for.
It looks like the found footage/POV horror sub-genre is suddenly somewhat hot again in Japan. This does not come as much of a surprise seeing as how ideally the genre is suited to low budgets, with footage that is generally supposed to look cheap, no need for complicated camera set-ups or sets, scripts that tend to the simple, and hordes of idols willing to act in everything being churned out by the Japanese entertainment machine. Somewhat surprisingly going by the standard of the POV genre in the USA and Europe, a lot of the newer Japanese POV films I have seen are actually decent or even better, with Koji Shiraishi’s Occult and this one being particular stand-outs that manage to fulfil all genre expectations yet also give the clichés they are working with small, effective twists.
POV and Occult invite some comparisons in other aspects than their respective quality, too. Both films are directed by men who have done good, sometimes great, work in the second row of Japanese horror directors. POV‘s Norio Tsuruta does not have anything quite as brilliant as Shiraishi’s Noroi or A Slit-Mouthed Woman in his filmography, but his films clearly show him to be someone who understands the horror genre and is intelligent enough to know that the point of making genre movies isn’t just giving people what they want from them but also surprising the audience with slight twists on and tweaks to a given formula.
POV is a perfect example of the latter. In its basic set-up, the film seems as generic as possible, with the usual non-characters going about their horror movie days, and the expected ghosts (though a lot more of them than you usually see in a film like this) doing the expected ghostly things. And what ‘s more generic than a middle part that mostly consists of people shaking their cameras, screaming, and running through a dark building? The film’s plot, however, is decidedly more clever than it at first appears, using the comfortably familiar spook show elements in service of something more sinister and more creepy, going into a semi-apocalyptic post-ending titles climax that is surprising and highly effective in its nature.
POV also one of the few films of its sub-genre that seems interested in using the discomfort the basics of Japanese idol culture can produce in a viewer who isn’t a total idiot, presenting the low rent entertainment biz in a subtly bad light, possibly even suggesting this sort of entertainment and its unspoken greed would be the perfect in-road for actual evil (or, ironically, that certain ghosts would see idol culture as a nice way to finally become famous).POV does not explore this aspect all that deeply (which is not coming as much of a surprise from a film that by necessity is itself a part of perhaps dubious, always looked down upon, circles of pop culture), but that does also mean it’s not getting preachy – and therefore annoyingly hypocritical – about it. It’s just an element that’s there to add more cultural resonance to the film.
Of course, all of POV‘s interesting subtext would be quite wasted if it did not also succeed at the bread and butter parts of a horror movie, the shocks, the moments of discomfort, and the all-purpose creepiness. Many of the film’s fright scenes are based on sometimes imaginative variations of pretty traditional Japanese ghosts and traditional POV horror shocks. About half of them tend to the more carnivalesque jump scare mode, and the grating on audience nerves by having the characters screech and shake their cameras, but there are also some exceedingly creepy scenes based on clever sound design, shadows, and my eternal favourite (that also turns a ghost story into something Weirder for me), scenes of time and space losing their usual consistence to threaten the characters. That last element is especially finely realized in the film’s first major climax, a scene I find too delightful/disturbing/
Tsuruta – who also wrote the film – shows itself as a director very capable of using the more subtle parts of horror craft even in a context like POV horror that often doesn’t seem all that interested in them, with a real gift for pacing the suspense scenes beyond the usual running and screaming.
Thanks to him, POV is a surprisingly excellent piece of filmmaking.