Probably not.
It is more likely that my real fear and admiration of the film stem from what it actually says about both Japan and the Japanese. It is more of an acute eye upon their culture than any documentary could ever be.
So. Here goes.
Odishon (1999, Tartan Asia *UK*)
Takashi Miike has often stated that his films are not meant as social criticism. He has oft claimed that he yearns to show the darkness in humanity, the depths to which people may plumb in order to either create order or chaos. However, he is a Japanese director, and as such his films reflect a Japanese mentality upon this. Much as one would not expect Scorcese to create a South Korean epic (in fact, he adapted one!), apart from Eastwood, most directors stay to their homeland. Or, at least, a land that they can connect to.
Odishon is unashamedly Japanese, playing upon many of the conventions and idylls of Japanese society. Here is the housewife who is expected to be in her place, to be subservient to her husband. Indeed, the opening hour or so of the film is placed as thus. The opening sets up the idea that women in Japan are seen as having to adapt, or 'audition' themselves as something other than they are in order to maintain a man is ludicrous.
Yet this is a tenet that is still held in Eastern culture; that women need to attune themselves to their male counterparts.
In this sense, Odishon works as a mammoth wake-up call.
There is such a softness to the opening hour of the film, that this is another 'wacky' rom-com, almost in the sense of Richard Curtis, or numerous other rom-com creators. The very rich man has decided to share his fortune. As he is so rich, he is holding auditions for women who may meet HIS specifications. And the one who does meet such specifications does so magnificently.
They spend a curtain-blowing-indulgence of a holiday together.
Then Miike steps into the movie.
Takeshi Miike is a man who has made efforts to make POINTS in his work. He is oft at pains to strive points home that may not be accepted in his homeland, and here he shos how a female may stress their power upon a male.
In Western society this is not a major issue. For Japan, it is nigh treason.
The resulting actions that occur to Shigerhau are both graphic and (yes) treasonous to spoil. It is enough to say that is bride is not what she is made to be. But what does this say about Japan?
Most horror in Japan centers around one of two issues; either those of the body, or those of the female. The former has been widely covered in films such as Tetsuo, which look at how the body can be corrupted by technology. The latter is clearly shown in films such as Ringu or Ju-On.
So what does this say about Japanese culture?
Japan is terrified of losing its past - its body, as shown in the film by the literal removal of a body part. It is a culture in divide. Those pre-war and those post-war both have strong arguments as to what Japan means. What is the body of the country? Divided, as the movie suggests.
And then the role of women.
Miike is one of the forward thinkers in this culture, giving women full status, power over film, art. What of others? Takashi is pointing the way forward towards something more radical, a change in authority. An equality.
By foot, or by crook.