Matsumoto is laudably weird. 'Symbol' is the bastard child of a Spanish dubbed 'The Wrestler' and 'The Cube' remade by Laurel and Hardy, put in the tumbler with 'The Fountain' as directed by Darren Aronofsky and a hint of '2001: A Space Odyssey'. After I got over the fact that there's a man in a white room, pressing angel cocks (mnyes, quite) in an attempt to escape, his actions seemed annoyingly folly for what he was trying to achieve. But who am I kidding: I never got over that fact.

Hahaha, despite my relatively low score, I would definitely recommend checking this out for its originality and wicked sense of humour (the sushi and soya gag was, for instance, very good). It's impressive minimalism with confounding inventiveness, with everything - somewhat disappointingly - boiling over completely by the end. Worst job ever: Being in charge of ensuring continuity between takes in the room with the penis buttons.

A story about the path to enlightenment. The final sequence, a homage to causality/ the interconnected nature of all beings, actions and events, is a stunning and truly uplifting experience. It's also really funny and has more than adequate levels of Japanese weirdness! Thumbs up x2

A Japanese man wakes up in a huge, empty and exitless white room, decorated with hundreds of tiny sculpted cherub penises. Whenever he touches one, a seemingly random object appears in the room. Crosscut with these strange events is the story of a Mexican boy whose father is lucha libre star Escargot Man. Bizarre and very dry comedy from the same director/star as Big Man Japan, I'm not sure I got the bigger point, but I was thoroughly entertained. Matsumoto's deadpan delivery is hilarious.