Helter Skelter (2012, dir. Mika Ninagawa)
Helter Skelter (original title Herutâ sukerutâ) is a super stylish portrayal of Japan’s obsession with teen idols and impossible perfection, based on Kyoko Okazaki’s manga of the same name. Lilico (Erika Sawajiri) is Japan’s hottest young model/actress, constantly gracing the covers of fashion magazines and walking the red carpet.
Society worships Lilico, yet her existence is lonely, without any real friends, and her ‘boyfriend’ plans to marry a politician’s daughter with a more respectable social standing than her. Early on in the film, we discover that behind her angelic appearance lies a dark, sadistic and self-destructive personality.
Lilico’s doll-like image was constructed by her calculating manager (Kaori Momoi) at an illegal cosmetic surgery clinic, which is under criminal investigation, led by detective Makoto Asada (Nao Omori). She lives by the rule that ‘beauty is courage’, yet her insecurities spiral out of control when her full body plastic surgery begins to show signs of wear and tear and a fresh new beauty joins the agency and replaces her as Japan’s new sweetheart.
Lilico’s cruelty is boundless, particularly towards her devoted assistant Hada (Shinobu Terajima), yet like many wayward celebrities, her issues can be partly attributed to her tumultuous past and society’s demanding expectations. The film seems to have nearly three potential endings (I was surprised when it continued after a particularly powerful scene) and while Koji Ueno’s frenetic score adds to the tense, sexually-charged atmosphere, it can at times overwhelm the dialogue.
Director Mika Ninagawa approaches this obsession with celebrity beauty with a daring yet feminine approach and her experience as a fashion photographer makes Helter Skelter a visual delight – saturated in hyper-pigmented colour and ever so cool.
For the full schedule and booking, visit: www.bfi.org.uk/lff
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