Film Review: KUSO

In 2016, Park Chan-Wook’s psycho-sexual thriller “The Handmaiden” —one of the best films of the year— included among its visual oddities a POV shot from the perspective of a vagina. In 2017, musician and producer Steve “Flying Lotus” Ellison’s “Kuso” shared the view from inside George Clinton’s anus; while one could see this as indicating a spiritual kinship between Park and Ellison’s films, it’s safe to say that “Kuso” is far from the year’s greatest. Kuso Much of the early buzz around “Kuso” centered on its Sundance premiere, where the walkouts it inspired were sometimes discussed more than its content. This mass revulsion seems to be Ellison’s desired reaction, as every aspect of the film is a carefully crafted provocation. The characters are sad creatures living lonely existences in a Los Angeles ravaged by an earthquake that somehow led to denizens being deformed with boils, blisters, and sores. Child abuse, rape, and deviant sexual behavior are common practices for most of these characters. Even the sets are gauged to disgust, liberally smeared with a substance one can only hope is chocolate. The gross-out assaults are meant to inspire shock in some and laughter in others, but their ubiquity just grows tedious as the film progresses. Read more