Reviews

Il n'est en art qu'une chose qui vaille, celle qu'on ne peut expliquer...

There comes a point in Seijun Suzuki’s career when one begins to suspect that something has simply broken. Not in a dramatic sense, nor in any ‘artistic’ way that we are accustomed to describing it.
More simply — and perhaps for that very reason more radically — it is as if, after years spent making three or four films a year within the Nikkatsu production machine, Suzuki had looked at the mechanism for what it was: a perfectly functioning structure… and one that was completely exhausted.

At that point, instead of resisting or walking away (at least of his own accord), he seems to do something much simpler. The mechanism… He picks it up. He opens it… And stops putting it back together.

“Branded to Kill” (for the record, the only Suzuki film regularly distributed in Italy at the time) stems precisely from that: not as a dramatic break with convention, but as an internal short circuit, a moment when the genre movie — specifically the yakuza noir — carries on by inertia, even though something, in the meantime, has stopped working.

It’s not that there’s a specific scene or a passage you can pinpoint; it’s just that, as you watch it, at a certain moment you seem to sense it. The film is still there. The story… not quite in the same way.

Suzuki breaks the structure down into fragments, allowing them to coexist without forcing a return to wholeness. A gesture reminiscent of Cubism: not an alternative reality, but the same reality viewed from incompatible, simultaneous angles that cannot be pieced back together. Not a narrative that unfolds but a surface that shatters.

The protagonist, the hitman Hanada, is not a character in the traditional sense; he is a top-tier professional, ranked number 3 in a hierarchy that seems more like a mental obsession than a real system. It is unclear whether he is merely a victim of events, tries to navigate them, or simply reflects them.

It’s almost like a loop. He has these incredible obsessions – the smell of rice in particular, and relationships with the opposite sex – and moves through a world – real!? Imaginary!? Inevitable!? – which, really, resembles a noir film, at least on the surface, perhaps from a distance. Up close, however, it is as if everything had been taken apart and put back together badly, as if a deliberate decision had been made to sabotage the very concept of continuity (logical!? Narrative!?)

It is therefore pointless to try to piece the picture back together: the fragments were never meant to fit together. It is from this acceptance — rather than from any interpretation — that “Branded to Kill” reveals its most elusive nature. It functions like a trance: actions repeat themselves, distorted; situations slip into one another without ever truly meshing. Hanada moves within this flow as if following an automatism he does not control.

It is a kind of strange, almost ‘flawed’ hypnosis that always seems to leave a crack, a tiny gap that prevents one from letting go – and, evidently, from understanding (?). Yet rather than being a dream to be deciphered, it is a reality that has ceased to function.

Despite everything, beneath this unstable surface, the structure is still (more or less) recognisable.
There’s a killer. There are assignments, organisations, hierarchies. There are enigmatic women, betrayals, shoot-outs. Everything needed to build a good noir. Except that here, every element seems to arrive after its own meaning. The tension doesn’t seem to build so much as to dissipate.

Vague dialogue that distracts rather than clarifies, and violence that borders on abstraction in its slavish and, in some respects, illogical repetition. The incredible soundtrack, a blend of jazz and avant-garde (the pink vinyl edition is beautiful!) The noir genre hollowed out from within, leaving only the shell—though far from inert… But this is no parody or cinephile’s mockery playing with arthouse cinema; it is something stranger: a noir that hasn’t realised it’s finished.

And in this friction — between what we recognise and what no longer works — Suzuki finds his greatest freedom. He does not destroy the genre but lets it go. The director takes the noir/yakuza film as his starting point, distorting it until it becomes unrecognisable yet not abstract, moving away from pure avant-garde to arrive at a form of pop (art?) under extreme stress…

If we were to imagine the Nikkatsu executives sitting in the projection room watching "Branded to Kill", we would probably be faced with a scene reminiscent of Jean-Luc Godard’s "Le Mépris", where Jerry Prokosch, the producer played by Jack Palance, literally flings – like a frisbee or discus throw – the film cans of Fritz Lang’s film, for an adaptation of Homer’s “Odyssey” that isn’t exactly “commercial”, in his view…

But Suzuki is not a ‘rebel’, rather, he is an insider saboteur. The romantic narrative of ‘the director versus Nikkatsu’ is true but limiting. Suzuki is more interesting – and complex – if we read him as a craftsman who realised that the system had run out of substance, and that it was better to ‘stuff’ the form until it burst.

If, in "Branded to Kill", sex becomes almost a “fetishistic compulsion inextricably linked to death and violence” (quoted) and if Suzuki “deconstructs genres and conventions”, drawing on a non-conformist spirit and a taste for social satire (already quite evident in his first “personal” works), then, rather than associating him with the American Samuel Fuller, as is often suggested, one is inclined to link him more closely to a director seemingly worlds apart, such as the Italian Marco Ferreri, whose iconoclastic vision is almost identical.

At this point, seeking a conclusion in the traditional sense seems almost out of place.
“Branded to Kill” doesn’t really come to a closure. It doesn’t tie up loose ends or restore order. It simply… fizzles out.
As if, having pushed the mechanism to its limits, Suzuki had decided it was no longer worth fixing. That the meaning, if there was any, had already been exhausted along the way.
And that all that remained was this collection of fragments, images, gestures — still in motion, but now disconnected from any notion of wholeness.

And the viewer, at that point, is not asked to understand, but rather to simply stand before those fragments. To lose himself, if necessary. Or even just to accept that the pieces will never come back together. Because perhaps this is precisely the film’s most radical act: not breaking the rules, not rewriting them, but letting them go — and observing what remains when we stop holding them together.

“Branded To Kill” is unlike anything else, even today when we’re used to everything. It’s short, fast-paced and full of images that stick in your mind. Ultimately, if you like, it’s even entertaining — but in that slightly strange way that leaves you feeling as though you’ve understood something… without knowing exactly what.

And in that moment, between a shot that slips away and a cut that doesn’t quite land, you almost find yourself picturing him once more:
Suzuki. A step back. A quick glance. A half-smile.
As if he were saying to you: “It used to work great, you know?
But in this way it’s much more interesting.”

9 ½ / 10

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We need to talk about this ML

I had written a review that I *thought* encompassed all my thoughts on this drama. But the more I thought about it, the more I realized I needed to scrap it and start over. This drama is lo-budget in so many ways, and the natural compulsion is to be kind of dismissive, and I had written "what an excellent cheap thrill". WHICH IT IS. But it's more than that. So I think it deserves a more serious review. So let me get serious.

First off, stylist needs to be fired. Let's just get that out of the way. And that is probably the main weak link in the show. It should have been styled by whoever did Fake It Till You Make It. But it wasn't. So to appreciate this drama, you have to kind of look past the stylist's choices more often than is comfortable, and it makes this watch awkward. So, immediately, points off. At least nobody had their hair wrecked. The hair is good. Idk bout yall, but for me this is kind of a real factor in show enjoyment. It shouldn't be, I mean that's silly. But it is. Bad hair can just destroy a show's spark. Fortunately hair here is good, or at least plenty good enough. At least the bad styling choices err on the side of caution, and nobody is wearing a dress shirt covered in mini stuffed teddy bears, or a leather polo shirt, or a belt that looks like a literal alien designed it.

Also music person needs to be fired. It's annoying and out of step, imo. But that's neither here nor there, because you just turn it down when it gets intrusive for a few mins, and it's fine. The crappiness of it didn't destroy the show or anything, it's just that it's not good. It didn't ADD to anything. It's mainly ignorable, and that's the best I can say about it.

With different styling and music this could have been very EITDN-level hot, but coulda woulda shoulda... that part is a fail imo. And is the reason for the points-off on the score.

With that having been said.

What I really want to talk about, that to me is the highlight of this drama, is the ML character himself. First off, this actor - Zhang Fei Ran - just poofed into existence out of thin air like some ML genie. Go look at his page. There's nothing on it. He just started his acting career. This performance he gave here, was GOOD. Really good. The character he plays doesn't have a lot of range, or at least not yet by ep 17. So we don't know what all Fei Ran is capable of yet, or what all his strengths are as an actor. But I am very encouraged by what I see so far.

Here, he plays a total red-flag character. But it's not your typical red-flag. This character is kind of borderline psycho, not even kidding. Kind of stalker-like around the edges. Possessive and obsessive. Huge power imbalance between he and FL. He's kind of coercive. But ALL this is played so so low key. The ML and the way the director frames him, makes him seem innocent and sweet and safe and harmless. And in a way he is.

So this is classic Luo Zheng CEO vibes, where the dark humor and dark intentions of the ML are wrapped up up in ribbons and sweet bows like "haha haha this behavior is fine because I'm wearing a pink sweatshirt and holding a puppy." And I know this is the exact behavior that alarms feminists, but personally I love the strange and twisted, and I love this brand of red-flag. It reminds me of Dia di los Muertos art, it's cute and innocent mixed with sinister and unsettling.

So take Luo Zheng, and give him less pretty-boy looks and more boy-next-door looks. And make him a closet scorpio --> cool, aloof and self-possessed but secretly an unbridled s*x maniac who's into monogamy due to total obsession with one woman.

The way Fei Ran plays this character is wicked hot. He manages to exude down to earth humility and shyness, and complete confidence and self-assurance at the same time. It is swoonworthy. He doesn't overact. If anything your gripe after watching might be that he is a little bit "wood plank". I like it when actors stay calm, grounded and subtle in their performances, because it makes it easier to watch tiny shifts to their expressions happen, it makes you watch people's faces closely. So I loved it. I liked how his acting was understated but still really confident. Giving kind of Arthur Chen/Elvis Chan vibes... because he doesn't come off as serious necessarily (like Deng Wei, Deng Kai or Leo Wu), he just comes off as quiet and calm with a self-assurance that's really sexayyy, with a tendency to err on the side of underacting instead of overacting. And yet still lets himself be emotionally vulnerable to the camera ---> goofy smiles and puppy dog pouting are not off the table for him.

So as long as you can appreciate a true red-flag ML, I'd say this is a do-not-miss in the realm of short-lengths, just for that alone.

The story is SIMPLE, and feels elegant and purist in a way, precisely because it is so pared down. It is unapologetic about the fact that it's tropey. It doesn't try to pretend it's super creative or that it has some unique twist. It is only trying to be the best version of itself. And that was refreshing to me. The facepalm moments are kept to an absolute minimum. The director and producer work within their budget to give you a smooth, fresh-feeling story. The pacing is nice. The FL is a seasoned FL who knows how to lead a show, and she's really beautiful and very believable, and she did great here. She could probably carry a hi-budget production and bring good performances out of A-lister co-stars. I love her brand of pretty. She's strikingly pretty, and her smile is so vulnerable and sweet, so is her crying. I mean her crying could use a little work, but she at least makes it so that when she cries, you empathize with her.

The supporting cast are all pretty/handsome in their own right, and solid actors in their own right. Maybe not top-shelf, sure. But really easy on your eyes and on your mind. Well-cast, thoughtfully cast.

THE SPICE IS HERE, folks. It is here. It is so so good.... and there's even good kilig in this one, which is hard to come by, especially in spicy short-lengths ---> something about spice and kilig usually don't mix. Usually kilig moments happen better in angsty romances, slo-burn romances, frustrated love or forbidden, repressed kinds of romance. But surprisingly there is some here. And ML has some really hot lines, kind of like in a similar way to how EITDN and Koi To Dangan had ML delivering some HOT lines of dialogue. We get some of this too. This show just spoils you rotten with romance. But you HAVE to like it dark to appreciate it. If you lean green-flag, the chances of this ML's brand of loving a woman making you uncomfortable are really high, consider this your second warning. You've now been double-warned. If you can't handle creepy CEO Luo Zheng, you won't be able to handle this guy either. He is a shameless manipulator, and his fixation on her is.... probably unhealthy.

This drama is deceptively cheap, deceptively simple. But really LOOK at it. Don't write it off right away. Its actually effin good, for it's genre. It's seriously a case of the stylist murdering the potential of the show. Do you know how much more boring and stupid EITDN or Fake It Till You Make It or Love And Bid Farewell would have been if they'd had sh*tty stylists? Also the director needs more practice and experience... he's not the worst but not the greatest. But overall, this is seriously a really decent cheap-thrills watch. I would recc this to any red-flag spice lover.

I really wonder what Fei Ran will do with his career, and he's got me interested.

Like... I hope you get what I'm telling you.... that there now exists in our universe, a Luo Zheng CEO only minus plastic surgery, and plus twisted, and plus SPICE. That's sort of lowkey holy sh*t u guys this is awesome.

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Liked it!

This show definitely didn't need to be this long, but it was still good! I usually have a hard time focusing on the political parts of C-dramas because I just don’t care enough to listen to old men talk, but weirdly enough, I didn’t mind it here.

I love it when both the male and female leads are sharp and strong; it’s such a pleasure to watch because it’s not frustrating, and I hate being frustrated. While the chemistry wasn’t the best, it also wasn't bad enough for me to drop the show. The only parts I skipped religiously were the little sister's scenes. I know some people liked her story, but she just seemed annoying at first. By the time her plot actually got interesting, I’d skipped so much that I didn't fully grasp what was happening and I was too lazy to go back!

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Can’t do it!

I got lazy with this one. As soon as I saw the episode count, I realized I just didn't like the show enough to stick with it. I never thought Zhao Lusi and Liu Yuning looked good together, not even in The Long Ballad, so even the main couple couldn't save this drama for me.

I am not forcing myself through 40 episodes.

Even though the costumes and production were overall okay, it felt a bit sloppy at times but maybe that’s just me! If a show is that long, it really needs to be high-quality to keep me interested till the end because then I start to see the flaws more clearly!

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A masterclass in how to build tension.

HUMINT is the definition of "all killer, no filler." Absolute, non-stop tension from the very first minute, this movie hooks you and doesn't let go.

The entire cast is on fire; there isn't a single weak link in the group. The performances are spectacular across the board. While the action sequences are top-tier and beautifully shot, the highlight is undoubtedly the ending: APOTHEOSIC.

Visually sober yet highly effective, the direction creates a cold, oppressive atmosphere that perfectly reflects the world of spies: a place where trust is a luxury and feeling can be a fatal mistake.

A highly recommended film for anyone who loves top-tier cinema.

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BL where Joon is a total (singing :) Green Flag

PLOT: At university, Zo had a long-standing crush on Nita (a student and fellow member of the debate club), but doesn't even dare talk to her. In desperation, he asks Joke (Nita's ex) for help, in exchange for a spot in the club. But Joke's main goal is to get closer to Zo...

+++ I really like Joon & Dunk. They are excellent actors, subtle, moving, authentic, and with great chemistry. However, I didn't connect with Zo's charactere; he's always reserved, always asking, never giving.
+++ Second romance with Aou & Boom (ღ˘⌣˘ღ)
+++ Solid direction, with a coherent story. For once, the students have classes, exams, and assignments to hand in σ(´∀｀)
+++ Great OSTs (Joon sings a lot in this series)

### Parents' redemption too abrupt to be believable.
### Announcement to families not addressed here

=> Good BL, enjoyable, with endearing characters, but not memerable.
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BL où Joon est un total Green Flag (chantant :)

PLOT: A la fac, Zo a un crush depuis longtps sur Nita (étudiante, membre comme Zo, du club de débat), mais n'ose mm pas lui parler. En désespoir de cause, il demande à Joke (ex de Nita) de l'aider, moyennant une place dans le club. Mais les objectifs de Joke sont surtt de se rapprocher de Zo ...

+++ J'aime bcp Joon & Dunk. Ce sont d'excellents acteurs, subtiles, émouvants, authentiques, et avec une belle alchimie. Cpdt, je ne me suis pas attachée à Zo, tjs sur la réserve, tjs demandeur jamais donneur.
+++ 2nde romance avec Aou & Boom (ღ˘⌣˘ღ)
+++ Réalis° solide, avec story cohérente. Pr une fois, les étudiants ont des cours, des examens, des travaux à rendre σ(´∀｀)
+++ Bons OSTs (Joon chante svt ds cette série)

### Rédemption des parents trop brusque pr être crédible.
### Annonce aux familles non traitée ici

=> Bonne BL, agréable, avec des personnages attachants, mais elle ne restera pas dans les mémoires.

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Not feeling it!

I just knew I wasn't going to like it, especially since the leads had zero chemistry. If there had been even a spark of a connection, I might have stuck with it, but without that, there was no reason to stay!

I am very quick to drop a drama, or anything, really. I don’t believe in forcing myself to sit through something; if it’s truly good, I shouldn't have to. Usually, if I don’t find the plot interesting (or if there’s no plot at all, which unfortunately happens a lot in C-dramas), I can only force myself to stay if the leads’ chemistry is really good. Otherwise, it's buh-bye! 👋🏻✌🏻

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The Best Thing… to Fall Asleep To

Personally, I found this drama pretty boring. It lacks substance and doesn’t really have anything meaningful to say.

The interactions aren’t particularly engaging, which makes the whole thing feel quite monotonous. I was honestly bored most of the time, and the main couple didn’t do much for me either. On top of that, the pacing is way too slow.

I don’t know, but it genuinely felt like they were eating all the time. And about the ML everyone calls him a “green flag,” but I didn’t really see it that way. He came across as quite calculated and overly meticulous at times, especially when he’d pretend to be drunk just to get closer to her or make her approach him.

The ironic part is that the fl is trying to cure her insomnia, while the drama itself basically worked as a sleeping pill for me.

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