“What is, is not. What is not, is.”
Pretentious ramblings from Mita, one of the many eccentric characters in “An Obsession.”

Sosuke (Ryo Ishibashi) is a workaholic detective who neglects his wife and leads a rather empty existence. While working surveillance during the sting operation of a notorious religious cult, he and his partner watch as the leader is gunned down. Sosuke chases the assailant and is shot by him as well. He loses consciousness and winds up in the hospital with a collapsed lung. Though he recovers, his close call with death encourages him to resign from his job. While still in the hospital Sosuke learns that his gun has turned up missing and, worse yet, his wife Rie is filing for a divorce. Someone begins shooting people with the missing gun - which prompts Sosuke’s inevitable investigation into the killings. His search leads him to a hypnotist and later to a meeting with Mita, the man responsible for shooting him (and killing the cult leader). The imprisoned Mita speaks to him cryptically saying that his wife, an ex-cult member, predicted that Sosuke would come to him. He mumbles the silly quote (proceeding this review) and then adds, pointing to the ex-detective rather pretentiously, ‘The black hole inside, will draw him to you.’ Further investigation reveals that the shooter is a man dying of leukemia. Sosuke tracks down the killer’s ex-girlfriend, an art school model with a death wish, and learns of their complicated relationship. The shooter, it turns out, is sharing the same long, dark teatime of the soul as our tortured, empty protagonist. What follows is a slightly convoluted, highly pretentious cat and mouse game between the terminally ill killer and the empty Sosuke.

Shot methodically, much like the superior “Cure” (also released in 1997), this tone-poem “thriller” has a few inspired moments, but more often than not comes across as pretentious and meandering. Though the set-up is rather conventional (the missing gun, the investigation of a killer who shares a similar dark side with the protagonist), there is a modicum of intrigue for the first half hour or so. But that is quickly lost as Sosuke delves ever deeper into the not-so-mysterious mystery. Our protagonist has a “black hole” inside of him and he has difficulty expressing his feelings. His search for his gun leads him to several characters who speak in riddles conveying problems that he himself shares. There are meditations on death, disaffected existences and the elusiveness of happiness. Writer/director Shinji Aoyama is a far better director than he is a scribe and manages some affecting performances from his cast. Ryo Ishibashi gives a subtle performance as the troubled ex-detective and he’s greatly helped by the game supporting cast. Eiko Nagashima as Rie is especially good as Sosuke’s estranged wife. The main problem here is the script, which gets bogged down in cliché and attempts to tackle far too many underlying “themes.” Characters spend a great amount of time conversing in deep metaphors; thoughts and feelings that could have (and should have) been expressed visually - or not at all.

The cinematography by Ishii Isao is one of the highlights of “An Obsession.” Framed in predominantly long and medium shots, Isao’s lense comments on the disaffected characters by keeping a safe distance away. The slow-moving pans and slow zooms often recall, oddly enough, Anthony B. Richmond’s amazing cinematography in “Candyman.” Lots of slow zooms into hallways and closed doors; the suggestion of foreboding making the narrative a much more involving experience. Director Aoyama was inspired by the work of filmmaker Jean Luc Godard and “An Obsession” certainly shows his influence. The naturalistic acting and deliberate framing would fit right in with 60’s French new wave.

This Artsmagic release presents the film in a somewhat soft, widescreen transfer. Its sound has been mixed in Dolby Digital 5.1 and isn’t especially distinctive, but “An Obsession” is a film that works best in it’s quieter moments. Extras include a short but enlightening interview with director Aoyama, who talks mainly about his cinematic influences. There is also a director and cast bio section and a feature commentary with author Jasper Sharp. It’s a fine package for this pretentious, mildly diverting little oddity.