Audition (1999 film)

Template:Infobox film Template:Nihongo is a 1999 Japanese psychological horror^[1] film directed by Takashi Miike and written by Daisuke Tengan, who adapted it from Ryu Murakami's 1997 novel of the same name. It follows a middle-aged widower (Ryo Ishibashi) who enlists the help of his film producer friend (Jun Kunimura) to stage fake auditions in order to meet a new girlfriend, only to find that the young woman he chooses (Eihi Shiina) has a dark past.

The film was originally a project of the Japanese company Omega Project, who wanted to make another horror film after the financial success of Ring (1998). The company purchased the rights to Murakami's book and sought Miike and Tengan for an adaptation.Template:Sfn Template:Sfn Template:Sfn The cast and crew consisted primarily of previous Miike collaborators, with the exception of Shiina, who had worked as a model prior to making her acting debut in Audition. The film was shot in Tokyo over a three-week period.

Audition premiered with a few other Japanese horror films at the Vancouver International Film Festival, but received increased attention when screened at the 2000 Rotterdam International Film Festival, where it received the FIPRESCI Prize and the KNF Award. Following a theatrical release in Japan, the film continued to play at festivals and had theatrical releases in the United States and United Kingdom, followed by several home media releases. It grossed $131,296 at the U.S. box office.Template:Sfn

The film was received positively by Western film critics, with many singling out the intense climactic scene and commenting on its stark contrast to the scenes that preceded it.Template:Sfn The film has appeared on several lists of the best horror films ever made and has had an influence on other horror directors, including Eli Roth and the Soska sisters.

Plot

Shigeharu Aoyama visits his wife Ryoko in hospital, where she dies from an undisclosed illness. Seven years later, Shigeharu's teenage son Shigehiko encourages him to find a new wife. Shigeharu's friend, film producer Yasuhisa Yoshikawa, devises a fake casting audition at which young women audition for the starring role in a new television series, though they are actually auditioning for the part of Shigeharu's new wife. Posing as a casting director, Shigeharu is immediately enchanted by an applicant named Asami Yamazaki, who says she was pursuing a career as a ballet dancer until injuries ended her aspirations.

Yasuhisa is suspicious when he cannot reach any of the references in Asami's résumé, such as a music producer she said she worked for, who turns out to have gone missing eighteen months earlier. Shigeharu is so enthralled that he pursues her anyway. She lives in a tiny apartment, containing little more than a large sack and a telephone; she sits perfectly still next to the phone for four days after the audition, waiting for it to ring. When it finally does, she answers and pretends that she never expected Shigeharu to call. After several dates, she accompanies him to a hotel, where Shigeharu intends to propose marriage. She reveals burn scars on her body and, before having sex, demands that Shigeharu pledge his love to her. Deeply moved, he agrees. In the morning, Shigeharu receives a call from the front desk to inform him that Asami has left.

Shigeharu tries to track down Asami, but all of the contacts on her résumé are dead ends, as Yasuhisa warned. At the dance studio where she said she trained, he finds a man with prosthetic feet who tortured her by burning her legs when she was a child. The bar where she said she worked has been abandoned for a year following the murder and dismemberment of the owner, and a local man tells Shigeharu that the police found an extra tongue, an extra ear, and three extra fingers when they recovered the body. Shigeharu has hallucinations of the body pieces.

Asami sneaks into Shigeharu's house while he is at work and becomes jealous when she sees a framed picture of Ryoko. She drugs his liquor and kills Gangu, the family dog. Shigeharu comes home, drinks the spiked liquor, and collapses. He has a series of hallucinations, including flashbacks to earlier dates with Asami and sexual experiences with other women from his past. In Asami's apartment, he sees that the sack contains a man who is missing both feet, his tongue, an ear, and three fingers on one hand. He crawls out and begs for food, prompting Asami to vomit into a dog bowl, which he hungrily consumes as Shigeharu watches in horror. He then sees her behead the man with prosthetic feet.

When Shigeharu wakes up, Asami informs him he's been injected with a paralytic agent that disables his muscles but leaves him conscious and able to feel, and begins to torture him with acupuncture needles. She tells him that, just like everyone else, he has failed to love only her. She cannot tolerate his feelings for anyone else, even his own son. She inserts needles into his abdomen and below his eyes. She then cuts off his left foot with a wire saw. As she is halfway through cutting off his right foot, Shigehiko returns home from school and Asami attacks him. Shigeharu appears to suddenly wake up back in the hotel, his current ordeal apparently just a nightmare, though this is actually a false awakening. He proposes marriage to Asami, who accepts. As he falls back asleep, he returns to reality to find Shigehiko fighting Asami. Shigehiko overpowers Asami and kicks her down the stairs, breaking her neck. Shigeharu tells Shigehiko to call the police and stares across the room at the dying Asami, who repeats what she said on one of their dates about her excitement over seeing him again.

Cast

Ryo Ishibashi as Template:Nihongo
Eihi Shiina as Template:Nihongo
Jun Kunimura as Template:Nihongo, a film producer and Shigeharu's friend
Tetsu Sawaki as Template:Nihongo, Shigeharu's teenage son
Miyuki Matsuda as Template:Nihongo, Shigeharu's late wife
Toshie Negishi as Template:Nihongo
Shigeru Saiki as Template:Nihongo
Ken Mitsuishi as Template:Nihongo
Ren Osugi as Template:Nihongo
Renji Ishibashi as Template:Nihongo

Themes

Critics have considered Audition as both feminist and misogynistic.Template:Sfn Miike has stated that when he met journalists in the United Kingdom and France, he found they commented on the film's feminist themes when Asami gets revenge on the men in her life.Template:Sfn The film sets up Aoyama with traits and behaviors which could be considered sexist: a list of criteria for his bride to meet, and the phony audition format he uses to search for a future wife.Template:Sfn Tom Mes, author of Agitator: The Cinema of Takashi Miike, stated that the torture sequence, with the mutilation of Aoyama, can be seen as revenge from Asami.Template:Sfn Dennis Lim of the Los Angeles Times examined similar themes, noting that the film is "ultimately about the male fear of women and female sexuality" and that women are blatantly objectified in the first half of the film, only to have Asami "redress this imbalance" in the second half when she becomes an "avenging angel".Template:Sfn

Chris Pizzello, writing in the American Cinematographer, stated that one plausible approach to interpreting the film is to see the final act as a representation of Aoyama's guilt at his mistreatment of women and his desire to dominate them. Template:Sfn Aoyama develops a paranoid fantasy of an attacking object: because he harbours sadistic thoughts towards women, he develops a fear that the object will retaliate.Template:Sfn Contrary to this, Miike has stated that the final torture scenes in the film are not a paranoid nightmare dreamed up by Aoyama. Template:Sfn Tom Mes has argued against the feminist portrayal of the film, noting that Asami is not motivated by an ideological agenda, and that acknowledging that she takes revenge on a man who has lied to her would be ignoring that she has also lied to Aoyama.Template:Sfn Asami states "I want to tell you everything" during the torture scene, implying she had not been truthful before.Template:Sfn Mes also notes that the avenging angel theme contradicts a feminist-themed revenge interpretation, given that one of Asami's victims is female.Template:Sfn Template:Sfn

In Audition, the character of Asami is a victim of child abuse. Colette Balmain, in her book Introduction to Japanese Horror Film, described Asami as "just one more face of the wronged women in Japanese culture... They are victims of repression and oppression, and only death and loneliness remain for them".Template:Sfn The film critic Robin Wood wrote that through her child abuse, Asami is taught that love and pain must be inseparable.Template:Sfn The audience is led to identify with Asami through this victimization and also what Stephen LeDrew described as a "patriarchal Japanese society".Template:Sfn

Elvis Mitchell (The New York Times) stated that the theme of the film was: "the objectification of women in Japanese society and the mirror-image horror of retribution it could create".Template:Sfn Tom Mes suggested that these themes can be witnessed in the scene where Asami feeds her mutilated prisoner and then turns into the childhood version of herself and pets him like a dog.Template:Sfn Mes concludes that this is done to suggest that what had happened in Asami's life had made her the violent adult seen in the film.Template:Sfn

Production

Development

The main production company behind Audition was the Japanese company Omega Project. Template:Sfn Omega were originally behind the production of Hideo Nakata's film Ring; this was a great success in Japan and, subsequently, the rest of Asia.Template:Sfn Omega had problems setting up the release of Ring in Korea and had the company AFDF Korea work on a Korean re-adaptation of Ring.Template:Sfn Template:Sfn Template:Sfn Template:Sfn The following year, in 1998, Omega partnered again with AFDF Korea and other production companies, including Creators Company Connection, Film Face, and Bodysonic to make the adaptation of Ryū Murakami's 1997 novel Audition.Template:Sfn Omega wanted to create a film different from the supernatural-themed Ring, and chose to adapt Murakami's novel, which lacked this trait.Template:Sfn To attempt something different, they hired a screenwriter (Daisuke Tengan) and a director (Takashi Miike) who were not known for working on horror films.Template:Sfn Prior to Audition, Tengan was best known as a screenwriter for working with his father (Shohei Imamura) on The Eel, which won the Palme d'Or in 1997.Template:Sfn Template:Sfn

Pre-production

To create Audition, Miike worked with many of his previous collaborators, such as cinematographer Hideo Yamamoto. Template:Sfn Miike spoke of his cinematographer by saying that Yamamoto was: "very sensitive towards death. Both of his parents died very young, and it's not something he talks about much".Template:Sfn Miike also noted that he felt that Yamamoto was: "living in fear, and that sensibility comes through in his work. It's something I want to make the most of". Template:Sfn The film's score was composed by Kōji Endō.Template:Sfn Endō had previously composed work for Miike on films such as The Bird People in China.Template:Sfn Yasushi Shimamura was the film's editor.Template:Sfn Shimamura had worked with Miike as early as Lady Hunter: Prelude To Murder in 1991.Template:Sfn

Actor Ryo Ishibashi wanted to work with Miike and agreed to the role. He commented that despite not being a great fan of horror films, he enjoyed scripts such as that of Audition, that showcased human nature.Template:Sfn Model Eihi Shiina was cast in the film as Asami. Shiina's career was primarily as a model and she only began acting after being offered a film role while she was on holidays.Template:Sfn Template:Sfn

Shiina first learned about Miike through his film Blues Harp, which made her interested in meeting the director.Template:Sfn When Shiina first met Miike, they began talking about her opinions on love and relationships.Template:Sfn Template:Sfn On their second meeting, Miike asked Shiina to play the part of Asami.Template:Sfn Shiina thought that the opinions and feelings she expressed to Miike were the reason she was cast in the role, and she tried to play the role as naturally as she could without going over the top.Template:Sfn

Production

Audition was shot in approximately three weeks, which was about one more week than usual for Miike's films at the time.Template:Sfn Scenes such as those in Asami's apartment and at a restaurant were shot on location in a real apartment and a real restaurant.Template:Sfn Template:Sfn Outdoor scenes were shot in Tokyo, along intersections in Omotesandō.Template:Sfn

The torture scene at the end of the film did not initially contain Asami's lines "Kiri-kiri-kiri".Template:Sfn Template:Sfn Shiina was initially whispering her lines while filming this scene, but after discussion with Miike, the two decided that having her say these lines would make the scene scarier.Template:Sfn Ishibashi found that Miike was "having so much fun with that scene", and that Miike was especially excited when Ishibashi's character's feet are cut off.Template:Sfn For the special effects where Shiina's character places acupuncture needles into Ishibashi, special effects make-up was used to create a mask layer which was laid upon Ishibashi's eyes, which is then pierced by the needles.Template:Sfn

Release

Theatrical

Audition had its world premiere on October 2, 1999, at the Vancouver International Film Festival.Template:Sfn Template:Sfn The premiere was part of a program of modern Japanese horror films at the festival, including Ring, Ring 2, Shikoku, and Gemini. Template:Sfn Audition was screened at the 29th Rotterdam International Film Festival in The Netherlands in early 2000 where it was shown as part of a Miike retrospective.Template:Sfn Template:Sfn Tom Mes stated that Audition received the most attention at Rotterdam, where it won the FIPRESCI Prize for the best film of competition.Template:Sfn Template:Sfn Template:Sfn The FIPRESCI award was given by a jury of international film journalists, who grant this award during the Rotterdam International Film Festival. Only films not in competition qualify for the award.Template:Sfn Audition also won the KNF Award, voted by the Circle of Dutch Film journalists.Template:Sfn

Audition was released theatrically in Japan on March 3, 2000.Template:Sfn When asked about the reception in Japan, Miike stated that there was "no reaction" as the film was shown in small theaters for a short theatrical run.Template:Sfn

Miike followed up that the Japanese audience did not really know about Audition until it received a greater reputation abroad.Template:Sfn It received its American premiere at the Seattle International Film Festival in 2000.Template:Sfn Template:Sfn The film was given its theatrical release in the United States on August 8, 2001.Template:Sfn Template:Sfn It eventually grossed $131,296 in the country.Template:Sfn

In the United Kingdom, Audition received screenings in 2000 at both FrightFest and the Raindance Film Festival.Template:Sfn It was released theatrically in the United Kingdom by Metro Tartan in mid-March 2001.Template:Sfn It was Miike's first film to be released theatrically in the United Kingdom.Template:Sfn

Home media

Audition was released on DVD in the United States by Chimera on June 4, 2002.Template:Sfn The DVD included an interview with Miike and a documentary on the Egyptian Theater in Los Angeles.Template:Sfn Template:Sfn A new DVD was released by Lionsgate in 2005 dubbed the "uncut special edition".Template:Sfn Template:Sfn This release included an interview with Ryu Murakami, a selected scene commentary by Miike, and a clip from Bravo's The 100 Scariest Movie Moments.Template:Sfn Template:Sfn Peter Schorn of IGN gave a negative review of the 2006 DVD, finding that the video was "overcompressed to the point that a distracting, shifting blockiness frequently in backgrounds that draws the eye away from the actors".Template:Sfn IGN concluded that the: "overall image quality is soft and fuzzy, with weak black levels, murky shadow areas and less-than-impressive color saturation".Template:Sfn On October 6, 2009, Shout! Factory released a DVD and Blu-ray release of the film that featured an introduction by Miike and actress Eihi Shiina, a full audio commentary by Miike and screenwriter Daisuke Tengan, and a documentary featuring the cast.Template:Sfn Template:Sfn

Audition was released in the United Kingdom on DVD by Tartan Video on June 28, 2004.Template:Sfn Template:Sfn The disc contained an interview with Miike and liner notes by Joe Cornish.Template:Sfn Matthew Leyland (Sight & Sound) reviewed this release, stating that the audio and visual presentation was "exemplary" while noting that the interview with Miike was the only noteworthy bonus feature on the disc.Template:Sfn The film was later released by Arrow Video on February 29, 2016.^[2] The Arrow Video release was exclusively restored in 2K resolution and was scanned from a 35 mm interpositive.Template:Sfn

Reception

On Rotten Tomatoes, the film has a rating of 83% based on 81 reviews, with an average rating of 7.4/10. The website's critical consensus reads, "An audacious, unsettling Japanese horror film from director Takashi Miike, Audition entertains as both a grisly shocker and a psychological drama".^[3] On Metacritic, the film has a weighted average score of 70 out of 100, based on 19 critics, indicating "generally favorable reviews".^[4]

Ken Eisner (Variety) gave the film a positive review. Eisner referred to the film as a "truly shocking horror film" that was "made even more disturbing by its haunting beauty".Template:Sfn Geoffrey Macnab, writing in Sight and Sound, referred to the film as a "slow-burning but ultimately devastating horror pic" and wrote that "it's a virtuoso piece of film-making with much more subtlety and depth than Miike's other films".Template:Sfn The Hollywood ReporterTemplate:'s Frank Scheck described the film as "one of the most audacious, iconoclastic horror films in recent years".Template:Sfn Mark Schilling (The Japan Times) praised Shiina and Ishibashi's acting, but noted that "among the film's few irritants is a smarmy, snarly bad guy turn by Renji Ishibashi as Asami's wheelchair-using ballet instructor. He is a reminder of where too many other Miike films have headed – straight for the video racks".Template:Sfn Schilling concluded that "Miike is ready for a bigger role – as one of the leading Japanese directors of his generation".Template:Sfn In the early 2010s, Time Out conducted a poll with several authors, directors, actors and critics who have worked within the horror genre to vote for their top horror films.^[5] Audition placed at number 18 on their top 100 list.^[6]

Final sequence response

Writers for Variety, The Hollywood Reporter and Sight & Sound all emphasized the film's final scene. Scheck (The Hollywood Reporter) wrote that "Miike lulls the audience into a state of complacency with a studied, slow-moving, lightly comic first half before delivering a gruesome final section that makes Stephen King's Misery look wholesome"; the ending was "all the more shocking for the clinical way in which it is presented".Template:Sfn Eisner (Variety) stated that it is only at the ending of the film that Audition "breaks out of creepfest ghetto".Template:Sfn In his essay on themes in Audition, Robin Wood stated that most of Miike's films are disturbing for "what they have to tell us about the state of contemporary civilization; they are not in the least disturbing in themselves, operating on some fantasy level of annihilation, with 'comic-book' violence".Template:Sfn In comparison, he stated that Audition is "authentically disturbing, and infinitely more horrifying: the first time I watched it – on DVD, at home, after warnings I had received – I was repeatedly tempted, through the last half hour, to turn it off".Template:Sfn Wood compared the film to Pier Paolo Pasolini's Salò, or the 120 Days of Sodom, stating that the film was "almost as unwatchable as the news reels – of Auschwitz, of the innocent victims of Hiroshima and Nagasaki and Vietnam, victims of Nazi or American dehumanization".Template:Sfn

Of the film's success with Western audiences, Miike states that he was not surprised, but that he had "no idea what goes on in the minds of people in the West and I don't pretend to know what their tastes are. And I don't want to start thinking about that. It's nice that they liked my movie, but I'm not going to start deliberately worrying about why or what I can do to make it happen again".Template:Sfn Actress Eihi Shiina stated that, in Japan, only a certain type of film fan would watch Audition. By comparison, she said, the film was seen by many more people overseas, which she attributed to "good timing".Template:Sfn

Aftermath and influence

Template:Quote box After the release of Audition, Miike was going to adapt Murakami's novel Coin Locker Babies, but the project failed to find enough financing.Template:Sfn

Audition has been described as an influence on "torture porn".Template:Sfn Template:Sfn Template:Sfn The term was invented by David Edelstein to describe films such as Saw, The Devil's Rejects and Wolf Creek offering "titillating and shocking" scenes which push the audience to the margins of depravity in order for them to "feel something".Template:Sfn Audition influenced American directors such as Eli Roth.Template:Sfn Roth stated that Audition influenced him to make his film Hostel, with Miike even making a cameo as a satisfied customer of the kidnappers who let customers torture their victims.Template:Sfn Template:Sfn Richard Corliss, writing in Time, opined that Audition was different from torture porn films as: "unlike Saw and its imitators in the genre of torture porn, Audition doesn't go for gore-ific money shots. Miike's films live inside their characters, taking the temperature of their longings, the ridiculous ambitions they chase so obsessively and their need to experience the extreme to prove they're alive".Template:Sfn

Audition has been referenced in western popular culture such as comics, music videos, and other media.Template:Sfn Template:Sfn It was listed by twin directors Jen and Sylvia Soska as one of their favourite horror films, and with the sisters saying that it was an influence on their film American Mary.Template:Sfn Template:Sfn The directors noted the character of Asami, stating that an audience generally sees: "female characters in a horror film as the helpless victim. This film leads you in one direction, skillfully hinting at a darker storyline for the otherwise meek and slight Asami until the final 15 minutes where we are introduced to a merciless monster. A perfect personification of the irrational rage of a woman scorned".Template:Sfn Template:Sfn Director Quentin Tarantino included Audition in his list of top 20 films released since 1992 (the year he became a director), referring to it as a "true masterpiece if there ever was one".Template:Sfn

Audition was among the films included in the book 1001 Movies You Must See Before You Die (2015).Template:Sfn

Deadline reported that executive producer Mario Kassar had begun work on an English-language adaptation of Audition in 2014.Template:Sfn Richard Gray was brought on to serve as the remake's director and screenwriter.Template:Sfn The film's storyline would be taken from Ryu Murakami's novel as opposed to an adaptation of Miike's film, and the film would take place in North America.Template:Sfn Template:Sfn The new film would include scenes and locations in the novel that were not in Miike's film.Template:Sfn Kassar spoke about the remake in 2016, saying he was "almost there. It's taking me a long time because it is kind of hard to do this movie but I'm not going to do it unless I know I'm doing it right."Template:Sfn Focus Features and Hyde Park Entertainment announced development on an adaptation of the novel in 2025. The film is set to be directed and written by Christian Tafdrup and co-written by Christian's brother Mads Tafdrup.Template:Sfn

References

Template:Reflist

Sources

Template:Refbegin

Template:Refend

External links

Template:Takashi Miike Template:Ryū Murakami

This article incorporates text from the Wikipedia article "Audition (1999 film)", available under the Creative Commons Attribution-ShareAlike 4.0 License.Retrieved 2026-02-26.

[1] Template:Cite web

[2] Template:Cite web

[3] Template:Cite web

[4] Template:Cite web

[5] Template:Cite web

[6] Template:Cite web

[1]

[2]

[3]

[4]

[5]

[6]

Plot

Cast

Themes

Production

Development

Pre-production

Production

Release

Theatrical

Home media

Reception

Final sequence response

Aftermath and influence

See also

References

Sources

External links