Audition (1999) dir. Takashi Miike

This influential horror film is not only grisly, but insightful as to one of the true horrors of the everyday–the fear of human connection.

Before the Internet, people had to do a number of things to go on a date. Sometimes, they went to bars and flirted. Sometimes they asked any friends if they knew anybody that was single. Or sometimes, they held a fake TV audition so they could audition new wives for their buddies. As is the case in this film.

After his wife dies from cancer, film producer Shigeharu Aoyama is convinced by his son and best friend that he needs to get back in the dating game. According to them, he’s gone lifeless. The problem is is that he doesn’t know anyone in particular. Shigeharu’s friend, who’s also a producer, decides to hold a “TV audition” as a cover for an actual audition for Shigeharu’s future wife. For the widower, one application sticks out: Asami Yamazaki, a former ballet dancer whose injury forced her to end her dreams early.

From her first appearance, you know Asami is not going to be “like the other girls.” Whereas the other girls are desperate for fame and male attention, Asami is plain, coming in wearing a plane white dress. Her story captivates Shigeharu, who’s still reeling from the loss of his wife and incredibly reluctant to let himself be vulnerable again. Soon, Shigharu asks Asami out on a date, which turns into another.

That’s when the nightmare starts.

I honestly didn’t find Audition (1999) to be all that scary, although if you put the gore and viscera aside, you get a very captivating drama. There are some shots reminiscent of a rom-com, where Asami is framed in slo-mo with her hair flowing in the wind. There’s also something very charming about her timidity and overall demeanor, bringing to mind the shy wallflower who blossoms into the ideal woman. But amidst these shots of romance, Asami lurks in a small room, sitting next to a large back that thrashes about uncontrollably. As she sports a creepy smile, you know Shigeharu got scammed like everybody else on Tinder.

Unlike other female love interests in rom-coms, Asami is unpredictable. One could call her unstable, and she is definitely that. But underneath that unpredictability is pain, and it’s the connecting thread between her and Shigeharu. Through flashbacks, we get a glimpse at a girl who’s barely holding on by a thread. The more we think about it, the more repulsed we get. And we start to understand more about her actions. Just like Shigeharu, she’s not just looking for love out of a desire for a genuine connection, but also because she’s deathly afraid of being alone. But being alone is also synonymous with being safe. And if they’re not safe, what hope is there for them?

There’s a very Hitchcockian aspect to Shigeharu and Asami’s relationship. On the one hand, there’s a real chance for them. They both have shared trauma, and while their communication could definitely use some work, it’s beyond any doubt they have chemistry. The real trouble lies in their own warped views of each other. Shigeharu views Asami as a pure reflection of his grief, whereas Asami sees Shigeharu as another man wanting to leach off her. In the bloody climax, both characters see their obsessions collide in upsetting ways, especially because they are both challenged on their philosophies of looking for connection.

Critics have debated whether this film is feminist or misogynistic. While the gender component is interesting, I feel like this debate is misleading. At its core, Audition is a film about loneliness, and what you will do to make sure you are done no harm in a relationship. And I think feminism and misogyny have that in common. Feminism is about having a more equal relationship between the sexes, and misogyny is about dominating over women to assert control, validating male loneliness out of a fear of losing patriarchal power. If you’re afraid of a woman leaving you, by all means, do everything in your power to maintain control over your dream girl. But when you choose her, you are not accepting a vessel. You are consciously choosing to love a person. And that can be the scariest thing of all.

FURTHER THOUGHTS

• The dream logic in this film is *chef’s kiss*
• This film is for all those who have been duped by a dating app. And I can count myself as one.
• Charli XCX is set to collaborate with Takashi Miike on his next film, and I’m choosing to remain cautiously optimistic.