DropURpantz This movie has got to be seen by anyone. Its a twisted tale of love and hate, that ends up a tale of individual past's and histories.Unagi, (the eel) will captivate you from the moment the movie starts. There is a lot left to the viewer to decide. There are hints as to what we should believe happened but nothing is set in stone. I for one love movies that leave it up to the viewer to decide what happened. This makes it more fun to watch a second or third time. Each time you watch this movie you pick up on something new, as there are a lot of underlying themes. The most important theme is the Eel. Think about what kind of animal that represents while you watch this movie. I give this movie a 10/10. Its got a lot of beautiful imagery and themes which a present throughout the entire film.We all got skeletons in our closets, don't we?

MOONboy I tried to spoil my girlfriend, who studies Japanese culture, with a film and it worked! Unagi (the Eal) tells a story of man who commits a 'crime passionelle' by murdering his wife. When he leaves prison the guards bring him 'his' eal. Under supervision of a local priest he tries to live a peaceful peasant-life in a place where nobody knows about his past; he becomes a barber, the eal is his friend ('they never say things you don't like..'). The situation changes when, on instigation of the priest, a girl starts assisting him in his shop. Inevitable his dilemma's come back...I loved this film for it reminded me much of the films of the Dutch director/producer Alex van Warmerdam; the ordinary, tightly directed up to every detail, the sufficating dilemma's lightly woven thru. Modern drama at it's best!

gilli This film deals with the theme of faith, its loss, its recovery. It has strong images, as usual in Imamura's films. It has also a well thought out plot development. But... it hints at directions that are never fully explored. There is a suggestion that the main character is insane. There are hallucinations. Keiko's behavior is also a little obscure at times. But as the core of the movie is melodrama, surreal aspects are only hinted at. That leaves a slight sensation of unachievement.

Predrag Synchronicity of form with the content has been an undeniable goal of art since it's conception. In film, that is where real magic starts and there is no master of medium that hasn't mastered this essence. That is visible here as well. Unfortunately, content, if we mean intriguing story, never made it in. What we have is a sorry collection of characters unable to think, act or express themselves - (shall I be guessing) oppressed by their culture? And this is where synchronicity starts: because all the form is just equally inept, unable, clumsy, luke warm, unwilling, closed-off, just as the world it portrays. Credits to the master whose work in its success leaves me nauseated. Shame to the west, whose taste is ignorant to all above, unbearably fake ingredients, cheesy pathos of music - final signature of the Imamura's baton. Not to mention insulting ethics that disturb even a sworn anti-feminist. Thank you very much.