Suicide Club (also known as Jisatsu Sākuru) is a 2001 Japanese horror–mystery film written and directed by Sion Sono. The film explores themes of alienation, mass psychology, and the loss of identity in modern society. It’s disturbing, philosophical, and often surreal — a blend of horror, satire, and social commentary that leaves many viewers puzzled and fascinated in equal measure.
Detailed Summary
Opening Scene: The Shinjuku Train Station Mass Suicide
The film begins with one of the most shocking and iconic openings in Japanese cinema: 54 schoolgirls in matching uniforms cheerfully hold hands and jump in front of an oncoming train at Shinjuku Station. The scene is gruesome, exaggerated, and oddly choreographed — immediately setting the tone that this is no ordinary horror film.
The media quickly labels it a “mass suicide,” but the coordinated behavior and cheerful attitude of the victims suggest something more sinister is at play.
The Police Investigation
Detectives Kuroda, Murata, and Shibu begin investigating the bizarre suicides. As more coordinated deaths occur across Japan, the police discover a strange website that shows a number of red dots equal to the number of deaths — implying a mysterious connection between the suicides and the internet.
The investigation deepens when they find a roll of human skin stitched together, forming a long strip, in which small patches of skin appear to come from different victims. This grotesque discovery hints at an unseen network linking the dead.
Mitsuko and the Schoolgirl Connection
The story introduces Mitsuko, a teenage girl whose friends have been affected by the suicides. She becomes our emotional anchor in the chaotic narrative. Through her perspective, we see how the phenomenon is spreading among Japan’s youth. Mitsuko begins to suspect a connection between the suicides and a bizarrely cheerful pop idol group called “Dessert” (or “Dessart”), whose songs seem to encourage listeners to “be true to yourself” and “connect with who you really are.”
The group’s lyrics and appearance on TV coincide eerily with new suicide events, suggesting that they may be part of a deeper conspiracy or mass hypnotic influence.
The “Suicide Club” and the Online Cult
Meanwhile, the police receive an email claiming to be from “the Suicide Club,” warning that more deaths are coming. The tone of the messages, written in childlike language, becomes increasingly eerie.
When the police track a phone call, it leads to a grotesque underground figure named Genesis, a self-proclaimed “charismatic leader of suicide.” Genesis lives in a warehouse decorated with body parts, where he performs grotesque glam-rock acts involving corpses. He claims he’s responsible for the suicides — but his confession seems false. He’s more of a delusional opportunist than the true mastermind.
The Web of Control
The film begins to question whether the “Suicide Club” truly exists or if society itself has created it through media manipulation, loneliness, and disconnection. The repeated theme of “connection” (denwa, or telephone connection) plays throughout — a metaphor for how technology both unites and isolates people.
The recurring image of a seamless roll of human skin symbolizes loss of individuality: people merging into one faceless collective.
Movie Ending
Mitsuko, seeking answers, follows clues that lead her to a mysterious elementary school, where she meets a group of eerily calm children led by a young girl who seems to be the true “controller” behind the suicides.
The children tell Mitsuko that the suicides are not about death, but about “disconnecting from yourself.” They explain that adults have lost their identity — their “connection” — and that by killing themselves, people are trying to remember who they are. The children symbolize innocence and purity, representing a world untainted by societal expectations.
Mitsuko confronts them, confused and horrified, realizing that the movement is much larger than anyone can stop. The children sing a song (resembling one from the idol group Dessert), and Mitsuko is left speechless, facing a disturbing truth — that the line between life, identity, and collective delusion has completely vanished.
In the final moments, Mitsuko sits on a subway platform. A group of schoolgirls nearby discuss the recent suicides. One of them mentions the “Suicide Club,” and as the train arrives, we fear she might jump — but she doesn’t. Instead, she stares at Mitsuko with a knowing smile.
The movie ends ambiguously: Mitsuko seems disconnected, haunted by what she’s seen, and the viewer is left wondering whether she’s been absorbed into the collective consciousness of the “Suicide Club” or if she’s truly escaped it.
Are There Post-Credits Scenes?
No, Suicide Club does not have any post-credits scenes. The ending fades out on an unsettling note, leaving the audience to grapple with the film’s unanswered questions.
Type of Movie
- Psychological horror
- Mystery thriller
- Satirical drama
- Avant-garde / experimental cinema
It’s not a typical slasher or ghost story — it’s a disturbing social commentary wrapped in horror aesthetics.
Cast
- Ryo Ishibashi as Detective Kuroda
- Masatoshi Nagase as Detective Shibusawa
- Akaji Maro as Detective Murata
- Saya Hagiwara as Mitsuko
- Rolly Teranishi as Genesis
- Yoko Kamon as the Nurse
Film Music and Composer
The score was composed by Tomoki Hasegawa, blending haunting minimalist piano themes with unnerving electronic soundscapes. The contrast between the pop music of the idol group “Dessert” and the dark orchestral score enhances the film’s surreal, almost schizophrenic atmosphere.
Filming Locations
- Tokyo, Japan – Most scenes, including the Shinjuku train sequence, were filmed on location or recreated on detailed sets.
- Abandoned warehouses and industrial complexes around Tokyo served as the setting for Genesis’s lair.
These urban environments reinforce the film’s message of alienation within Japan’s modern, industrialized society.
Awards and Nominations
While Suicide Club did not win major international awards, it became a cult hit and was screened at film festivals including Fantasia Film Festival and Toronto International Film Festival (TIFF), earning praise for its originality and shock value.
Behind the Scenes Insights
- Director Sion Sono initially intended the movie as a critique of Japan’s pop culture obsession and youth disconnection.
- The opening suicide scene was so realistic that Tokyo Metro officials publicly complained after its release.
- The fake idol group “Dessert” actually released a real single to promote the movie.
- Sion Sono didn’t provide the cast with a full script — many scenes were shot with partial information to enhance confusion and realism.
Inspirations and References
- Inspired by Japan’s 1990s suicide epidemic and growing youth isolation.
- The film draws on David Lynch’s surrealism and Takashi Miike’s social horror style.
- The title concept mirrors the real-life online suicide pacts that became prominent in Japan during the early 2000s.
Alternate Endings and Deleted Scenes
Some scenes were trimmed for pacing, including more backstory for Detective Kuroda’s family.
A rumored alternate ending (never officially released) reportedly showed Mitsuko joining the idol group Dessert, symbolically merging with the pop culture machine she once resisted.
Book Adaptations and Differences
Sion Sono later expanded the story into a novel version of Suicide Club, offering more internal monologues and backstory for the detectives and Mitsuko. The book clarifies certain mysteries — particularly the children’s role — suggesting they represent the subconscious desires of Japan’s youth rather than literal characters.
Memorable Scenes and Quotes
Key Scenes
- The opening Shinjuku station suicide sequence
- The reveal of the human-skin “connection roll”
- Genesis’s performance scene, equal parts grotesque and theatrical
- Mitsuko’s encounter with the schoolchildren in the final act
Iconic Quotes
- “Are you connected to yourself?”
- “There’s no suicide club. You’re just part of it.”
- “You can’t connect with others until you connect with yourself.”
Easter Eggs and Hidden Details
- The number 54 (the number of girls in the first suicide) recurs throughout the film — seen in clocks, signs, and case numbers.
- The word “Dessert” is stylized as “Dessart,” a play on “death” and “art.”
- The film’s recurring motif of “white bags” refers to the clean, sanitized way Japanese society hides trauma.
Trivia
- The film inspired two follow-ups: Noriko’s Dinner Table (2005) and Suicide Club: The Complete Edition (a director’s cut).
- Sion Sono himself appears briefly as a hospital staff member.
- The fake blood used in the train scene took weeks to clean from the station set.
Why Watch?
Because Suicide Club is not just a horror movie — it’s an unsettling mirror of modern alienation. It’s a puzzle, a nightmare, and a philosophical provocation. If you like movies that make you question media, identity, and conformity, this is essential viewing.
Director’s Other Movies
- Love Exposure (2008)
- Cold Fish (2010)
- Noriko’s Dinner Table (2005)
- Tokyo Tribe (2014)
- The Forest of Love (2019)
Recommended Films for Fans
- Battle Royale (2000)
- Audition (1999)
- Perfect Blue (1997)
- Pulse (Kairo) (2001)
- Ringu (1998)
- Tetsuo: The Iron Man (1989)
