Probably one of the industry’s most failed experiments, video game adaptations have repeatedly been the laughing stock of audiences and critics, particularly when it comes to Hollywood productions. Recently, however, Asian cinema has produced works like the 2019 Taiwanese “Detention”, which showed that video games can actually be adapted into stories of genuine quality. “Exit 8”, based on the homonymous 2023 indie game that challenged players to walk through a sterile subway corridor while spotting visual anomalies, retains the core of the original but expands it into something particularly cinematic. Premiering out of competition at the 2025 Cannes Film Festival, “Exit 8” received an eight-minute standing ovation (which no one cares about) and is now screening in Neuchatel.
Exit 8 is screening at Neuchatel International Fantastic Film Festival
Starting with a lengthy POV sequence that directly connects with the gameplay, the movie introduces us to the protagonist, known only as the Lost Man, as he commutes through the subway, witnessing a man yelling at a woman about her crying baby. He, however, remains absorbed in his playlist, disconnected from the situation, and eventually takes a call from his ex-girlfriend, who reveals she is pregnant.
As he attempts to exit the subway, something begins to feel off. The Lost Man cannot seem to move beyond a zigzagging corridor he eventually reaches. It becomes clear he is trapped in a liminal space where reality no longer adheres to logic. A noticeboard soon explains the rules of escape: watch out for anomalies; if you find one, turn back; if you don’t, keep going. Each time you follow the correct path, you move one stop further underground and one stop closer to Exit 8. If you get it wrong, however, you’re sent back to zero and must start over. Eventually, others appear in the space as well, including a man who keeps walking (aka the Walking Man), a very young boy, and a schoolgirl.
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Creating a narrative from a structure that essentially revolves around one man walking through the same space again and again is no easy task, but this is exactly what Genki Kawamura achieves here. He retains the basic format of the game while introducing an emotional arc and a philosophical undercurrent that elevate the story beyond its minimalist premise. Granted, the influences from “Gantz” are noticeable, but this is not an action-oriented piece; instead, it is a drama about perception, what we choose to see, what we ignore, and how much of ourselves we project onto the world.
This approach becomes increasingly clear as we watch the Lost Man encounter fragments of his past and unresolved guilt: the face of a man he once ignored in crisis, a domestic dispute he walked past without intervening, and finally, the echo of his father’s suicide, something long buried in memory. The corridor becomes a psychological trap, where memory, fear, and perception bleed into one another.
At the same time, a persistent sense of disorientation and an element of creepiness, such as in the initial appearance of the Walking Man or the scream of the schoolgirl, further define the atmosphere, pushing the narrative into sci-fi territory and adding an entertaining layer of unease.
Visually, “Exit 8” is a triumph of precision. Cinematographer Ryuto Kondo constructs a disorienting yet obsessively symmetrical world, where even slight changes in the corridor’s appearance feel jarring. The repetition of space never becomes dull; each loop is subtly altered, prompting the audience to notice the “anomalies,” much like the player was required to do in the game. Combined with a carefully engineered soundscape by Kensuke Ushio, consisting of distorted PA announcements and ominous silences, the experience immerses viewers in the protagonist’s anxiety and growing sense of isolation. That different chapters shift focus to other characters is another strength, part of a clear and successful effort to avoid repetitiveness.
Kazunari Ninomiya delivers a standout performance as the Lost Man, portraying his character’s psychological deterioration with a minimalistic approach, through minor shifts in body language and subtle expressions. Yamato Kochi, as the Walking Man, is equally convincing, balancing an eerie presence with a fragile humanity. The supporting cast, including Nana Komatsu, contributes to the surreal tone with deliberately subdued or unsettling performances that deepen the uncanny mood.
“Exit 8” is a smart and inventive project that makes the most of its minimalism. It is a breath of fresh air from an industry that, in recent years, seems to be undergoing a creative resurgence.
