Any time you set a movie mostly in a single location, it will present a major problem of audience engagement. Think 127 Hours, Open Water, or The Shallows, and how the film must constantly introduce elements to keep you going. It’s not enough to ask your audience to not want the protagonist to succumb to their situation for an entire movie. Filmmakers must figure out ways to raise the stakes or justify leaving the confined space to give them something else to latch onto. #Manhole, from director Kazuyoshi Kumakiri, takes some wild swings in an effort to keep the audience hooked while watching – and while some of these work, the film will likely leave audiences asking if any of it really made sense.
Shunsuke Kawamura (Yûto Nakajima) is having his bachelor’s party the night before his big day. He maybe had too much to drink and stumbles into an open manhole, injuring his leg – and ultimately finds himself trapped. His cellphone is functioning, and he is having a hard time getting anyone to answer – but his old girlfriend, Mai Kudô (Nao), returns his call and restores his hope of rescue. However, things are not exactly as they seem, and as the story unfolds, more and more complications begin to reveal themselves.
One element of the film that seems to be attempting to provide some social commentary comes at a point of desperation. Shunsuke turns to a Twitter stand-in called Pecker to seek assistance. He creates a female persona and frames his situation as a post that goes viral. From this point, there are several social media “warriors” hellbent on saving Manholegirl from her plight, likely as a result of her jerk brother Shunsuke’s behavior. The way the people on social media are quick to “solve” the situation and rally together to help this poor girl in this dire situation definitely feels like the various rallying cries we have seen on social media. However, it’s unclear what the film is really saying about it – but it’s a major component of the story, and the filmmaker’s attempt to keep the audience engaged. It does work to raise the stakes and alter the status quo of the film.
There is definitely some Hitchcockian influence in the story and structure of the film. However, the end isn’t quite satisfying, despite a mostly entertaining ride. It is possible that some of the stylistic choices are what pushed me out, as I felt the ending dives too deep into the melodrama and not enough into the horror. Still, #Manhole was mostly a successful example of this type of movie. After the first thirty minutes, I was worried there was no way it was going to keep me engaged, and that’s about when the twists start to enter into the equation.
#Manhole is at the Fantasia International Film Festival 2023.
Rating: Decent Watch
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