Destruction Babies begins in a port town where Shota (Nijiro Murakami) sees his brother Taira (Yuya Yagira) involved in a fight with a large gang. Needless to say the outnumbered Taira is being badly beaten before the gang are forced to run by the arrival of another villager. Shortly after, Taira leaves town and begins a journey of violence, attacking random passers-by in the street on a seemingly pointless personal quest to disrupt his environment. His antics soon attract the attention of another youth Yuya Kitahara (Masaki Suda) who joins him on this mission to violently assault strangers. They also kidnap a hostess named Nana (Nana Komatsu) who also becomes involved in their activities.
Directed by Tetsuya Mariko and written by him together with Kohei Kiyasu, the film is clearly designed to shock. Occasionally you will be subjected to musical accompaniment that sounds like someone threw a drum kit and an electric guitar into an industrial shredder. Hidenori Mukai’s score is purposefully offensive, and in keeping with the tone of the film. The film constantly pricks your conscience by letting you inside the life of this disturbed individual. The camera follows Taira around the streets, searching for victims, making it clear that you cannot escape him, while at the same time making no attempt to explain him. While the story of Taira is fascinating, the tale of his brother is less so and there is an uneasy sense that there was a message there that never quite became clear. Despite its plot and reputation (described as “extreme”), the film is actually a surprisingly polished drama. With beautiful cinematography and a score that is perfectly chaotic, though veers just to the right side of listenable. The acting is good throughout. Yuya Yagira gives a quite disturbing performance as Taira. You are never quite sure if he’s suffering some sort of mental health issue, or just enjoys scrapping and being badly injured. Masaki Suda is extremely unlikeable as an outrageous stereotypical teenage boy, obsessed with sex and violence. Nana Komatsu also gives a heartfelt performance as the shoplifting hostess who gets swept up in their world.
The marketing for the film describes it as extreme, but I feel as though this may have been an in-joke. The fight sequences are undoubtedly brutal as we hear the wet clatter of fists on increasingly bloodied physiognomies, but to see this simply as another violent film would be to miss the point. It is actually a commentary on violence and societies reaction to it. It is a difficult watch, not because of the various scenes of people being pulverised, but because of the apparent pointlessness of it all. It’s hard to describe the plot of Destruction Babies as there seems very little purpose to anything that is going on. But on reflection this is exactly the point. One character later on comes to this realisation, a little too late for him, that what they are doing is meaningless, and that perhaps people should take a step back and consider their actions. The violence gives them some form of escape, of self-expression, but in the end he can’t see what he is trying to do. Not an easy watch, but there are some enjoyable moments. It is a film that will perhaps be unfairly dismissed as another purposelessly bloody film about teenage tearaways. It may also be criticised for not going far enough in its punk sensibilities and being more disturbing or outrageous. Personally, I found it a difficult watch, a little overlong, but one that certainly demands consideration. It won’t be for everyone, but if you like violent films with a satirical edge, this is just the ticket.