THE INERASABLE

Almost everyone knows the feeling: You walk into a room and feel something you can’t see, and then get goose pimples. It’s the same with Kubo, a young woman who hears strange noises in her new flat, as if something were been dragged over the tatami mats. She writes to “I”, an authoress who has invited her readers to depict any paranormal incidents they may experience. Together the two women investigate the cause of the noise and, layer for layer, human for human, life for life, stumble upon something horrible. Yoshihiro Nakamura’s last work in the horror genre appeared ten years ago. Compared to the “The Booth” a casual shocker, he has lowered the speed of the narrative in “The Inerasable” and creates an atmosphere of disturbance and restlessness that slowly manifests itself inside the spectator’s head and stomach. This elegant horror thriller isn’t the right place for neither moments of shock nor for easy explanations. The adaptation of Fuyumi Ono’s bestselling novel is about something more profound, sensual and dreadful. It’s about the traces left by the unfortunate and the cursed in rooms and other places. It’s about the last moments of all those, who are now inextinguishable and irretrievably stuck. And then they’re back, the goose pimples.