Audition begins like a sentimental romance and unfolds into a nightmare. But unlike From Dusk Till Dawn, you'll never see this one coming. Miike Takashi, a household name in Japanese underground cinema, is renowed for pushing the boundaries of genre to absurd extremes. This is borne out most notably in his unorthodox (to say the least) approach to narrative structure. A masterful film grammarian, he is adept at controlling vast convolutions as the plot pivots unexpectedly and with increasing absurdity. The true, and perhaps sole, genius of the film lies in its ability to tantalise and transfix you through the hellish absurdity, without making you feel that you’ve been cheated by a director who revels in messing with minds of his audience.

About as non-genre as a horror film can get, Audition also has serious ramifications for Japanese sexual politics. The film's subtext represents a vitriolic attack (written from a 'male feminist' point of view) on the deeply chauvanistic ideals of many Japanese men, particularly the business class. Unfortunately most of these allusions will be lost on a Western audience who, for the most part, will only discern a salacious shocking surface. Indeed, Takashi's film sports a brand of feminism so radical it makes Valerie Solanos look like Delia Smith. I'm not spoiling anything by telling you that by the end of the film, Shigeharu is probably wishing that Asami would have just been content to put his pet rabbit on the stove.

David Goff