A civilizational critique exploring the structure of “true evil” depicted in the film Villain, linking it to geopolitical experiences in East Asia and to the influence of media and cultural elites within Japan.

2019-01-03

Those who have encountered the “bottomless evil” and “plausible lies” of China and the Korean Peninsula will surely feel that the film is filled with genuine evil.
In the sense that it truly overflows with evil, the film Villain may well be called a masterpiece.
Those who have encountered the “bottomless evil” and “plausible lies” of China and the Korean Peninsula will surely feel that the film is filled with real evil.
However, all the evil contained within that film, and all of its causes, were already present in what I introduced in the previous chapter as one of the finest recent essays by my senior, Professor Nobuyuki Kaji.
All the evil that exists within that film is contained within Professor Kaji’s insights, as those with discernment must surely have recognized.
The problems pointed out by Kaji are not only Japan’s problems but global ones.
Yet they are especially evident in Japan, where media such as Asahi Shimbun and NHK, together with pseudo-moralists and so-called cultural figures who align with them, have long exercised influence.
That is why I say this… since August four years ago, I have felt that many in the theater world and among actors possess minds cultivated through close reading and absorption of Asahi Shimbun, and I view them with a certain degree of contempt.
If those who call themselves artists truly wish to confront the evil in this world and hope for its eradication, they should immediately go to the Ministry of Education and act until the life-risking proposals of my senior Kaji are implemented.
Conversely speaking, there is no other way for them to take responsibility for having presented to the world such terrible evils—especially the bottomless evil and plausible lies created by certain nations—as though they were the true state of Japan.