Kei Fujiwara’s Organ (1996) is an exercise in pure fantasy. There is very little intelligible plot, but I doubt that Fujiwara was particularly concerned with plot when she made the film. Rather, she wanted to convey some fairly abstract and esoteric philosophical concepts by the means of bombarding her audience with gruesome and fantastic images, such as prolonged shots of radical and unnecessary surgery, or a half-butterfly half-woman creature hatching out of a cocoon. According to the director’s commentary, Organ was so graphic that even Japanese censors were scandalized, and Fujiwara planned on making Organ 2 even more violent. Sadly, I don’t think the sequel came to pass.
Organ consists of approximately four loosely interconnected plots, all dealing with the search for something missing. Yoko, played by Fujiwara herself, compensates for the loss of her eye by illegally harvesting organs, which are then sold on the black market. Her brother Seaki had been castrated by their abusive mother, and is being consumed by a flesh-eating disease. He reasserts his masculinity and staves off the disease by murdering virginal young women and using their blood to prolong his life. Numata, a Tokyo police officer searches for his twin brother, who has been kidnapped by the organ-harvesting syndicate, only to discover that they have used him for a series of gruesome experiments. Another cop seeks to murder his wife’s rapist. In all cases, the quest to overcome loss is impossible, indeed, futile.