A man brutally murders a married couple and leaves the word “ikari” (“rage”) written with their blood. The killer undergoes plastic surgery and flees. At three different locations in Japan, a male stranger appears. People suspect that the stranger might be the murderer.
Ken Watanabe Mirai Moriyama Aoi Miyazaki Satoshi Tsumabuki Go Ayano Suzu Hirose Kenichi Matsuyama Hideko Hara Chizuru Ikewaki Mitsuki Takahata Takahiro Miura Pierre Taki Takara Sakumoto Hiroaki Iwanaga Shingo Mizusawa Urara Awata James Carlsen Masato Hyugaji Kenji Ebisawa Kiara Minami Grayson Kelly Takao Shibata Yui Sakuma
Toho Pictures Chunichi Shimbun Chûôkôron Shinsha dentsu GYAO K DASH KDDI Nippan Group Holdings Sony Music Entertainment Yomiuri Shimbun Company
Anger, Ikari, 怒, Ярость, 분노, 怒り：2016, Gniew, Fúria, Гнев, Гняв, Raiva, Düh
Canada
Japan
Spain
Hong Kong
South Korea18
Canada
Hong Kong
Japan
South Korea
Spain
It's easier to be trusted if you're already favored and well-off. There's an implicit trust that's given by not just people, but workplaces, institutions, even the places you shop at, and that in-turn puts you in a position to be better-trusted in the future. You can be completely honest about who you are without fear of repercussion, and others will want to give you their trust. Some people go their whole lives without even realizing just how much trust the world has in them, and some of those people do so much to break that trust yet somehow the world never takes it back.
It's harder to be trusted if you're living on the margins. There's an implicit distrust that's…
Lee Sang-il's Rage might seem like a murder mystery to you, but it isn't really. While the film's narrative does center around a mysterious bloody murder, the ultimate message is not about finding who the murderer is but rather stories on trust and connection among its characters.
With a talented and star-studded ensemble of some of Japan's most famous names, it's no surprise that Rage shines. Ken Watanabe needs no introductions, the male leads: Go Ayano, Matsuyama Kenichi, Tsumabuki Satoshi and Moriyama Mirai who all have already made names for themselves. Aoi Miyazaki, who's been in the industry since she was four. And the up and coming, Hirose Suzu. I also want to mention the relatively unknown Takara Sakumoto who…
I feel so emotionally drained after watching this.
In a film that opens up with a grisly murder scene, and the subsequent kanji for ‘rage’ painted on the wall with the blood of the victims, the film takes an unexpected turn away from the police procedural you’d expect it to be based on the first five or so minutes.
Instead the film becomes a multifaceted and complex exploration on what it means to trust someone.
It features three unique narratives set in three different locations with the sole similarity being the addition of a stranger who enters the picture; a stranger who just so happens to resemble the killer at large.
However, as suspicions loom and as the innocence of the…
This started off intriguing enough, but "sexual assault and rape of character to show growth of male characters surrounding the survivor" is my most hated trope in all of fiction. What is this, Game of fucking Thrones?
Rage is often likened in scripture to a conflagration, yet the inferno here is but an old, neglected grief, paradoxically freezing the genial current of the soul.
Lee Sang-il, through just 2 feature films, catapulted right into my top directors list. His Eri Fukatsu starrer 2010 film “Villain” hit me like an unforgettable fever dream and his 2022 masterpiece “Wandering” blew me away. So, while “Rage” does try to deliver on my extreme high expectations, at least in creating that specific atmospheric style of a moving quality assigned to the non-living world, through a combination of waters, skies, and blood, with human emotions at the center, along with entrancingly ominous music by Ryuichi Sakamoto, sadly, it falters in the third act.
A common thread across all three films is of the perilous possibilities of a criminal or someone from the dark corners of a civilization hiding inside…
It feels like "Rage" is a hidden gem right now, not so many have seen it even though it's successful run at numerous film festivals in Europe during 2016.
I don't really know where to begin talking about this film, it features a lot of characters with similar issues and when a murderer begins to get wanted by the nation things start to fall apart.
The cast is incredible with a lot of talent behind, by the one hour mark i started to get really invested into the choices and bonds between the film's character which i felt was the true dramatic point for the film.
This all made my quite tear up at the end, although some scenes were…
Pure melodrama. And while it’s informed by a series of brutal slayings (and their fallout) it’s not necessarily the focus – each of the three narrative strands is intriguing and compelling in and of itself. Tbh, Rage is a slight misnomer. I feel that Trust would be a more satisfying title. Anyway, it’s a handsome film – the island sequences in particular benefit from some gorgeous cinematography – and Sakamoto’s doleful score is the perfect accompaniment to some seriously dramatic goings on.
Rage opens with a murder - we don't see the culprit's face. The story proper then beings and we are given 3 different stories (located in Chiba, Tokyo, and Okinawa), each involving a man that has recently come into the character's lives. One of these men is the killer - but which?
Rage is interested in that titular emotion, yes, but also in the ideas and underpinnings of human trust and relationships. Would you call the police on your new boyfriend just because maybe he looks a little like the killer and has a bit of a shadowy past? This is a decent idea, and director Lee Sang-il adapts from Shuichi Yoshida's mystery novel of the same name well. So…
"The best way to find out if you can trust somebody is to trust them."
— Ernest Hemingway
"If I cannot share the same grave... then, being buried beside yours would be enough for me."
This has unexpectedly become one of my top favourites. 50 mins in I had almost forgotten that this movie was about human cruelty and suffering, but then they shockingly reminded me that this is not a mellow movie about life. I cannot remember the last time when I was so shocked the whole time watching a movie. Asian cinema, after all, knows like no other how to portray the worst of human cruelty. The score was impeccable, the acting hit home every emotion, the story kept getting better. So much despair and suffering and feelings of helplessness. It was all so fluent and perfect.
