Box (No condescending about my stupid question)

lol.Hey wassup? you kl?...OK Box..I'm not sure if i understand it..But hey! Heres my assumption. Takeshi Miike(The Director) is not always clear what he means through his endings..he always likes to leave his audience confused so Hey don't worry if you don't understand!...In my opinion i think Takeshi Miike is just twisted..(Probably had a bad childhood or something)...OK box!

Twist at the end with the Siamese Twins..ok..The thing is, throughout i think its about reading through the lines of what they say... especially Yoshii/Higata..(The guy with the mask!..wait a minute..i just realised OMG..That man was the same person!...he was the man that talked to Kyoko( the one who grew up!)and was also the man at the circus with the Mask..who later gets slashed by Kyoko thats why the actor is casted as Yoshii/Higata(How bizzare i never noticed that!) ....But i dunno..i kinda saw it coming, there was soo many hint..especially when the both girls were practicing there Ballet and they were kind of joined to one another...

but a line that gave it alway..was near the end when Yoshii/Higata traps both girls into box and says..."I love You Both, Can't have one without the other"
It kiinda gave me the hint..they're Joint!

I hope that explained..some things..and cleared things up.

My opinion...and, for the record, I'm not positive about all aspects of this...

I believe she did kill her sister. I don't think they were conjoined twins in reality, though.

I believe the man in the circus tent was their father and was sleeping with them.

I think that she was haunted all of her life by what she did, and essentially she was mostly insane over it. I think she had the nightmare of being in the box and being buried alive over and over because it was parallel to what she did to her sister, basically shoving her sister in a box and smothering her with fire.

The ending was the easiest for me to understand. She showed herself as a conjoined twin with a much younger sister because she has always had her sister in her life, closer than anything else, the guilt, the horror, the love...so much so that she is incomplete without her. The guilt is so overwhelming that it's like...well, a monkey on her back - or a sister attached at the hip.

The whole thing with the agent being the same guy as her father...I didn't figure all of that out - unless there really is no agent and she was imagining it all - once again, out of guilt. Keeping in mind that all she ever wanted to do was to please her father - and, writers always want to please their agents - and get their books sold.


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"i get the fact this not an easy movie and we have to do some thinking, but no matter how hard we try, we cant be certain about anything. thats where he fails i think."

No. That's where you fail. Art is about substance, not explanation. Artist produce art, the audience produces explanations.

My interpretation of the story is this:
Everything in the whole thing was a dream except the part when she wakes up (and talks about how her dream ends) and the ending. There are cases out there with siamese twins where one of the conjoined twins body never develops or ceases to at a certain point. You know how your dreams sometimes tend to use people from real life and cast them in different roles? Try watching it again with this in mind.

Are you serious???

Have you watched any films other than Disney?

I interpreted it is that there is no sister. She dissociated into two personalities because of abuse by the circus man (?her father). She tried to kill a part of herself that did not want to remember. The conjoined twin appeared to be still a child. This may represent her as a child. She kept waking up in a dream within a dream. The final scene may be just another dream.

A bunch of interesting ideas here. While I was watching it I just thought, "Another Japanese horror flick that is all atmosphere and style and otherwise an incoherent mess." But When it was over it kind of made sense. Kind of.

I thought most of the movie was the grown up sisters thoughts while she was dying in the box. I can't really figure the book agent bits or whatever into the story at all. Unless this happened before she was in the box and the book she wrote is the narration of the story.(?)

The end is purely symbolic and didn't really happen, IMO. Because she died in the same box as her sister, they are together again. It was just a creepy way of showing it. And in the end that is all Japanese horror films are about, being creepy, not making sense. That's just my two cents.

I did not write this someone or at SARUDAMA.com wrote this in his review (I'd list his name but couldn't find it )but I do agree with his interpretation of the film
What originally appears to be the three strands of the narrative, namely, Reality (Kyoko the author in blue dress), Memory (Kyoko the child) and Dream (Kyoko in the box) emerges to be in fact only the two strands of Reality (author Kyoko waking in bed with white dress) and Dream (Kyoko in blue dress in the box). What we take to be Kyoko's reality slowly unfolds to become the dream itself and provides the early stages of the recurring sequence wherein she is ultimately buried inside the box. Thus Kyoko in the blue dress is the dream along with all her childhood memories and ghostly encounters, and the haunting surrealism itself which permeates the entire narrative is in fact the fluidity of this dream state. This accounts for all the seemingly supernatural encounters including the editor's with the strange young girl in the hallway, as well as those several scenes which seem either impossible or unlikely such as Kyoko receiving a written invitation to the tent of her childhood.

The siamese-like deformity which the real Kyoko possesses adds a truly bizarre and fascinating layer to possible interpretation of the dream. It would certainly seem to explain the entire claustrophobia motif as well as an almost subconscious desire to rid herself of her "sister". And to the degree Kyoko's dreams are impacted by the perceptions and dreams of her child-like (siamese) self, this may also account for the incestuous tone wherein the father, who is in fact a dream character based upon the editor, is viewed simultaneously as father (by the younger) and lover (by the elder).

I will simply repeat my earlier declaration that this is a truly fascinating film.

"Intolerance is evidence of impotence" Aleister Crowley