Flower of Shanidar

Gakuryu Ishii's Flower of Shanidar [Shanidâru no Hana] is already more than a decade old, but so far it has been largely unavailable for those who have never mastered the Japanese language. It's not even one of his most niche or esoteric films, but the ways of international distribution are complex and confusing. Luckily, we don't only need to rely on corporations, and those with an interest in Ishii's work (and understand English) can finally experience it as intended. And they definitely should because while not part of his best work, it's a film not to be missed.

When Ishii changed his name from Sogo to Gakuryu, people were a little unsure of what to expect. Looking back it's clear he wanted more freedom to make a film like this, without the expectations of it being punk and edgy. And it's not that he wanted to completely break up with his past, if you know where to look you'll see Ishii's punk influences pop up here too, but Flowers of Shanidar is a real departure from the kind of film that cemented Ishii's film persona. This film is a lot more minimalistic and cleaner, a kind of spiritual successor to films like August in the Water.

Stylistically, Flowers of Shanidar reminded me the most of Ishii's Isn't Anyone Alive, a film with a similarly clean yet dreamy vibe, while still featuring a darker undercurrent. The setting and premise are a mix of light sci-fi and fantasy elements, the plot itself plays more like a thriller. Mix that together and you have a nice blend of genre and arthouse cinema that should appeal to anyone who craves films that deviate from the norm. As long as you are able to accept the somewhat outlandish premise, but that's par for the course with films like this.

Kyoko joined a company that conducts medical research into a unique flower. The flower is a parasite that can grow on the human chest, forming a special symbiosis with its host. When the flower blooms it can heal the mental state of its human, but the long-term effects of the symbiosis are unknown, and cutting the flower off is a dangerous procedure. The more Kyoko learns about the research, the more she questions the ethics of the company, and when she finds out that certain negative effects are covered up, she fears she might be part of a nefarious operation.

Whether he's making over-the-top punk cinema or subtle, spiritual dramas, Ishii's aesthetic is always on point. The white, clinical surroundings and stark framing capture the scientific chill to the t, the colorful flowers and softer camera work contrast this environment with the mental healing process of its patients. Despite the larger focus on plot and dialogue, Flower of Shanidar is a lovely-looking film that never lets a shot go unpassed to add to the atmosphere. And that's exactly the kind of thing that gets me excited about a film.

The music also deserves a mention. It's not Ishii's most original or most notable score, but the impact on the film is still tremendous. The visuals create a mix of warm and cold, and the music singlehandedly adds a layer of darkness to that. The heavy, droney guitars fill the soundtrack with dread and foreboding, without a hint of an effort. It's the power of a smart and tailored score, which can affect the whole vibe of a film all by itself if needed. I loved the strong contrast with the visuals and the extra texture it brought to the film, but I can't say I'm surprised Isshi pulled off such a feat.

Despite his relative obscurity (or niche popularity if you want a more positive take) Ishii always managed to secure decent casts. A young Go Ayano and Haru Kuroki contribute excellent performances, with actors like Furutachi and Ito doing their thing in secondary roles. There are no real standouts or career-defining performances here, there also isn't much room for things like that as Ishii's direction takes center stage most of the time, but having a quality cast is still a boon and the actors made sure they wouldn't disappoint.

The first half of Flower of Shanidor is spent on fleshing out the setting and covering the mystery of the flower. It's a lengthy introduction that takes us through the cast and the scientific setting where most of the story takes place. Once that is done the film starts adding thriller elements to build up to a classic Japanese finale. Not all questions are answered and the post-credit future is unsure, but the events of the film have come to their conclusion (think Oshii's Ghost in the Shell). It's a bit of an acquired taste, yet something I personally appreciate a lot.

As someone who has been loving Gakuryu Ishii's alternative work, a film like Flower of Shanidar is a blessing. It's also a painful reminder that quality films don't always get the most basic respect they deserve (I.e. proper distribution). The stylish presentation, the impressive score, and overall solid casting turn this medical fantasy thriller into a riveting experience, the kind only Gakuryu Ishii can deliver. Fans should do their best to track it down as quickly as possible, those not familiar with Ishii's work should probably seek out easier prey first. Regardless, this is a worthy addition to the man's oeuvre.