Aku no Hana (2019)

It isn't that bad

-Aku no Hana is a very interesting story and follows complex themes . I think the movie makes 10x more sense if you've read the manga and not only that the manga is just better. Even though the movie is extremely similar to the original it does not feel the same and it just feels off. I feel like everything just went too fast and if you are new to the story you might get a bit confused.
-I liked the acting and although the characters seem a bit weird and awkward at times they are meant to be kind of crazy so it was okay, Although it definitely did seem a bit overdramatic at times which was kind of funny.
-Its very depressing, dark, sad and chaotic so if you like stuff like that, you'll probably like this!
-I love how beautiful each shot was and how many small details they were, the music was okay too and it was not that bad.
Overall, it isn't that bad but I'd definitely recommend reading the manga to get the full experience.

Read More

A misunderstood gem that's beautifully disturbing and depressing.

Where to watch :

https://www.youtube.com/watch?v=N4y74UaBIDA (English Subtitles)

Or here : https://mega.nz/file/hjUBWCTZ#TjkrmK0Gmwz8MhGmyGAaDm6TxxtK3lwTjRPpIz5bBKA -> You'll have to download the subtitles you're searching for on SubDL, then use VLC to open the video and add the subtitles.

---

“I dedicated this movie to all the boys and girls who are now suffering, or have suffered, from puberty.” - This message shows before the film starts.

---

Disclaimer: I didn't read the manga, but I know they had to condense 57 chapters into a 2-hour movie, which is a lot (obviously it can't be as detailed and the story will be shortened), and I’m aware there are differences. There’s also an anime, but it’s incomplete since it never got a Season 2. And before anyone complains, this as japanese as it could be, so expect it to be weird, bold and crazy (then that's what makes it so good, too). But it is epic and fascinating, nonetheless.

---

This was an intense psychological mindfuck on my part. I've never had so much to say and I can't believe how much I felt in such a short time. It is not only deeply philosophical and heavy on psychological study (this is like the most I have seen even though it's only 2 hours) but also on a critique of Japanese society.

I loved it so much. I think they did really well with the pacing because I didn't ever get bored and I managed to get the psychology overall (which is nothing short of insane) and in the end, it is what all the story is about. Not to mention the cinematography, the poetic dialogue/storytelling, and the intense build-up. It’s a pleasure for me to see a reference to French literature with The Flowers of Evil being used as a metaphor (not only referenced, it is inspired to the point where you'll recognize Baudelaire's atmosphere), and the Japanese need to keep making stuff like this because that’s where they really excel.

As I mentioned, the cinematography is excellent. With a solid budget, the film is thoughtfully shot—artistic, visually appealing, and carefully crafted in every scene. It has such great cinematic value that I had goosebumbs in some scenes.

By the way, there’s the drama Shounen no Abyss I need to watch, which also picks up on the idea of a teenager trapped in a rural town (the difference being that he doesn't have an "ordinary" life like Kasuga in Aku no Hana). A friend who’s a fan of J-dramas recommended it to me, and it seems really dark, artsy and completely unconventional as well.

Now the cast, it was perfection. Nakamura looked exactly as intended in the synopsis (creepy, weird, friendless), the actress nailed it and I was really attached to her but I'm gonna say it: Kentaro (Kasuga's actor) is the real gem here. Such a cute, influenceable, vulnerable, innocent face for such a distorted role (my guilty pleasure), and pure young talent (though honestly, the actress (Tina) is also too good and deserving of praise). It seems very likely to me that Aku no Hana was THE improvement in their acting and probably will stay their best work. It's clear they were very serious about it, no wonder I even read somewhere that they were fans of the manga. I'm just so, so glad they took it on. Huge respect for the production team too, and the author of the manga with whom they worked closely (funnily enough, the film cleared some confusion about characters motivations for some readers). It's magnificent to see such a story brought to (real) life. Of course, well-done supporting cast as well, no one made me cringe or anything, they were all believable and serious in their roles.

The music I thought added what it should to the scenes. There was one scene where it amplified my urge to cry. I also added the songs to my playlist.

Did I mention the way the film starts? Oh. My. God. Insanely good. And well-done all throughout. Really, they achieved the impossible with this one. How did they even manage to capture it all, so well?

Oops-- This was not meant to be such a long review/analysis but once again I went out of my way. Well, I don't write much reviews but for my real favorites, I tend to. Now don't get me wrong, you're not dumb if you do not get it, by misunderstood I meant that it's not for everyone. Then I think everyone understands that they're very young (in their last year of middle school to be more precise), that's really all you need. The rest is "bonus", more or less evident in the film (most of it is), the only difference is that I'm doing a breakdown of the whole thing by myself here because I want to share my personal experience with the film, but also defend the film itself. If you can "feel" this film (it's not necessary to relate), then you will enjoy it. It's important to understand that the Japanese have their own unique and often subtle way of doing things, which is sometimes misunderstood by foreigners. Regardless, I'll do my best to explain.

Anyway, I do not spoil any major event but it might be better to read the rest of my review later (if you want). Thanks for reading!

---

Kasuga isn't exactly like the others, that's clearly shown from the start. He feels like he's different and doesn't fit in, or rather he would like not to, the latter being intensified when he gets closer to Nakamura. He had no special bond with anyone before Nakamura. In addition, what's key here is that they both are premature. Obviously, they are very much introverted as well.

The story would be nothing without Nakamura, she's really intriguing and absolutely not ordinary, contrasting with Kasuga. While Kasuga’s journey feels like an existential crisis—a struggle with his own identity and a sense of purpose as he suffers from being ordinary—Nakamura’s is more of a rejection of society itself, rooted in a raw contempt for conformity and superficiality. However, we can guess that this is also caused because of a profound lack of self-worth and self-love. Also lack of mental help and there is a lot of reason behind this, however this is for those who have the necessary knowledge on Japanese society, so I shared an explanation that's not mine at the end of my spoiler in the comments section. It is shown that she lacks a conventional family structure, hinting at a turbulent background that likely shaped her mentally unstable character (unless she has always been, or it worsened, especially with puberty). People shouldn't disregard the impact that a lack of love/attention can have on a child while growing up, caused by the physical and/or emotional absence of their parents (often because of work, particularly in Japan). Rather than just a weird, evil character, Nakamura should be seen as a victim—a consequence and by-product of many factors.

Kasuga feels so strangely real and relatable (Nakamura does too but it's not the same, for me at least), I love him so much. It's so strangely human with the imperfection and complexity of it all, and this is why I think this film is beautiful albeit twisted. I love it when things go into ‘screw it, who cares’ mode, and the surreal aspect of the film just adds to it. Such a unique feel. It’s like witnessing the awakening of two souls who, for the first time, truly feel alive and seen by one another as they spiral into darkness (by embracing it). Taking an autodestructive and anti-social behavior, they reject humanity and unravel the fabric of reality itself, bound by a shared disdain and a need to question everything. What matters here is that deep inside, they are both lonely and insecure, misunderstood and alienated from the real world. The story leads to Kasuga being almost as broken as Nakamura when he realizes how empty he now feels. Because of that, he becomes the most dependent of the two. He had nowhere else to go anymore. He had to be with her. Looking at it from their perspective, it feels like watching the end of the world, doesn't it? The Flower of Evil itself appearing on the screen really strengthens that feeling.

Puberty is in full swing, which is crucial to Aku no Hana's story and tone. The characters are experiencing intense hormonal and emotional changes, amplifying their insecurities, rebellious impulses, and attraction to the forbidden. This period of overwhelming puberty adds a raw, almost chaotic layer to their actions and interactions, especially in how they express—or suppress—their darker thoughts and desires.

(Also, they are in their final year, which possibly adds a stress factor. It's something very common especially in Japan, and the point of the story and their character development is to free themselves (not in the right way but it is what it is), which means that something like this quickly becomes irrelevant, and was just an addition to everything.)

Kasuga, for instance, finds himself obsessed with Baudelaire's The Flowers of Evil *, and his fascination with the book’s themes of sin, guilt, and beauty is heightened by his adolescent intensity. Nakamura, on the other hand, is grappling with her own disillusionment and rebellion, pushing Kasuga to confront the darker parts of himself, which he barely understands. This combination of puberty’s volatility and the characters’ existential confusion is a huge part of why the story feels so unsettling yet relatable for some viewers/readers.

---

* The Flowers of Evil by Charles Baudelaire isn’t typically classified as "abstract" in the strictest literary sense, though it explores themes that can feel abstract—like beauty, death, melancholy, and sensuality. Rather, it’s one of the foundational works of literary modernism, known for its use of vivid, often decadent imagery and exploration of taboo subjects. Baudelaire’s poetic style is concrete and sensual, often rooted in specific imagery and settings, which he uses to convey his complex themes and moods.

The collection’s innovation lies more in its symbolic and existential exploration than in abstraction. Baudelaire often used real-life imagery—such as the city of Paris, nature, and mythological references—to depict the inner turmoil, ennui, and the conflict between the ideal and the sordid aspects of human experience. These layers of meaning make the poems symbolist in nature, but not abstract in language or structure.

However, his use of synesthesia (combining senses, like taste and color), surreal contrasts, and symbols does push the boundaries of traditional poetry, pointing toward later, more abstract literary movements like surrealism. So while The Flowers of Evil itself isn’t abstract, it paved the way for later writers to experiment with abstraction and the inner landscapes of consciousness.

---

Aku no Hana is definitely philosophical and nihilistic. To sum up the themes quickly: 1. Existentialism and Identity 2. The Nature of Freedom and Rebellion 3. Guilt, Shame, and Moral Ambiguity 4. The "Abyss" * and the Dark Side of the Psyche 5. Alienation and Modern, Youthful Angst

It uses its psychological and unsettling storyline to probe questions about freedom, moral conflict, and identity. It doesn’t offer straightforward answers to these philosophical questions, but rather invites viewers/readers to confront the darker, often unspoken aspects of human existence.

* The "abyss" recalls philosophical ideas from Nietzsche's concept of the abyss ("if you gaze long into an abyss, the abyss also gazes into you" ~ remember when The Flower of Evil visually appears) and Carl Jung's notion of the "shadow," the darker, unconscious part of the psyche.

Nakamura is drawn to Kasuga because she sees him as someone who, like her, feels disconnected from society's conventions. Her interest in him is rooted in a desire to unleash his inner "perversion" and bring chaos to his life, reflecting her fascination with rebellion and psychological manipulation. This bond between them is emotionally charged and obsessive but also genuine.

I've truly never connected to a fiction this much. This film was an incredible emotional release in my case, but it's really not a common one. It provoked something within me that I never externalised, and for this reason it is an unforgettable film that will likely remain my favorite for a long time, if not forever. I already watched it twice in a row as I am typing this. On a side note, I will never complain about things being exaggerated/over-the-top (as long as it's well done) because that's the beauty of art, and also why this film was so impactful. Especially for me. Besides, aren't the characters supposed to be kind of crazy? See, it fits anyway.

Be sure to stay until the very end of the credits. The final image is a powerful, symbolic moment that beautifully echoes the story's essence at its core, offering a haunting parallel that will resonate deeply with what you've just witnessed.

I have a lot more to share, but since it really goes into spoiler territory, I'll put that down in the comments.

P.S: "At first, I read Baudelaire’s Flowers of Evil and felt drawn to its raw intensity. I searched for a movie adaptation and stumbled upon The Flowers of Evil. Initially, I related to Kasuga—the isolation, the feeling of being misunderstood, of screaming into a void that doesn’t respond. But as the story unraveled, I found myself slipping into Nakamura’s world, her genius wrapped in madness. She’s like the abyss itself—a place where potential is devoured, yet there's something seductive and tempting in her chaos, something freeing. Slowly, I started looking up to her, not just her defiance, but her utter disconnect from the world’s rules. It felt like she was showing me the truth I was too scared to see: maybe I was wasting away, too." YES, this encapsulates my feelings.

Read More