The Exit 8 Review: Game Rules Transformed into Psychological Trial

A commuter’s footsteps echo beneath stark fluorescent tubes as he presses forward into a corridor that repeats itself with clockwork precision. In Exit 8, Genki Kawamura transposes a cult 2023 indie game’s “spot-the-difference” premise into a tense psychological thriller. The film’s opening long take casts us in the shoes of “The Lost Man” (Kazunari Ninomiya), whose ordinary subway commute fractures into a looping passageway where each turn holds a silent test. He must spot anomalies—minor shifts in signage, a vent cover ajar, the silent figure of the “Walking Man”—to advance or be thrust back to square one.

Ninomiya’s commuter is tethered to real-world stakes: a voicemail from an ex-girlfriend reveals her pregnancy, and his unease about fatherhood underlies every repeated step. The corridor’s white-tiled expanse, bathed in clinical light, doubles as a stage for mounting tension, its sterile uniformity amplifying each slight variation. Kawamura’s deft staging and the film’s reliance on repetition forge an atmosphere that is both hypnotic and quietly unnerving. This adaptation succeeds by folding game mechanics into human drama, forcing viewers to weigh the ethics of choice, responsibility, and the fear of fresh starts under relentless reflection.

Mechanics of Repetition

The film’s first-person opening holds for nearly eight minutes, drawing attention to ambient station sounds—rolling suitcases, distant announcements—before a baby’s wail fractures the calm. A call from the Lost Man’s former partner provides exposition: these subterranean loops are tied to a life-altering decision. On-screen rules appear on a noticeboard: detect any anomaly and reverse course; miss it and proceed forward. Eight successful exits promise freedom.

Each cycle invites us to play detective alongside the protagonist. Posters shift positions, vents vanish, and the “Walking Man” strides past with robotic indifference. Backtracking becomes an act of both frustration and revelation, turning the corridor into an evolving puzzle. When Kawamura abandons strict POV for occasional detached perspectives—glimpses of the robotic walker or a lone boy—the narrative expands, offering fresh angles on the same environment.

Halfway through, a sequence evoking The Shining floods the corridor with water in a sudden tidal wave of terror, dismantling expectations of stasis. From here, the film’s editor intensifies rhythm: rapid cuts underscore moments of panic, then stretch into lingering takes that emphasize the corridor’s claustrophobia. Each repetition retains enough difference to feel unpredictable, sustaining an undercurrent of dread that intensifies with every pass.

Guilt, Rules, and Human Agency

At its centre, Exit 8 interrogates how guilt and fear shape action under pressure. The Lost Man’s reluctance to react to a mother’s plight or to confront his ex’s news hints at deeper remorse. His loops through the corridor mirror an internal reckoning: does he obey the strict rules laid before him, or succumb to impulse and risk regression? This tension mirrors modern life’s demand to follow prescribed paths, yet the film resists easy allegory by revealing that ethical lapses carry personal weight.

The Walking Man embodies rigid compliance—a monochrome mirror of the Lost Man’s own hesitation—while the boy, with wide eyes and sudden movements, disrupts the sterile order. Their appearances force the protagonist to reconsider adherence and defiance, illustrating that subtle acts can carry major consequences. Dialogue is sparse; instead, visual motifs—the tilt of a poster, the hush after an anomaly—speak volumes about accountability and choice.

In this corridor, agency is less about freedom and more about bearing the cost of action or inaction. Rules demand obedience, yet compassion demands risk. As exits tally upward, the Lost Man’s question becomes existential: is escape measured in physical steps or in the willingness to face one’s own flaws? The final loops grant no easy solace, inviting viewers to confront how personal responsibility can be the most harrowing obstacle of all.

Bleached Halls and Echoing Sound

Kawamura’s production design turns everyday station tropes into a hall of mirrors. Blinding white tiles and rigid signage create an antiseptic backdrop that magnifies every anomaly. Subtle shifts in hue—an advertising poster’s eyes appearing to flicker—transform familiar elements into harbingers of unease.

Cinematographer Keisuke Imamura orchestrates circular tracking shots that coil around Ninomiya, tightening the frame as his desperation mounts. Close-ups on clenched hands or a sweaty brow underscore the human cost of repetition, while long takes sustain an almost ritualistic dread. Editing by Sekura Seya juxtaposes rapid intercuts during moments of panic with extended static shots that linger on empty corridors, inviting the mind to fill the void.

The soundscape weaponises silence and distortion: Ravel’s Boléro underpins key passages, its relentless crescendo echoing through the passageway’s corridors. Baby cries are bent, split, stretched—each distortion echoing the protagonist’s fracturing psyche. Ambient station noises swell into oppressive crescendos, then drop to near-quiet, leaving only the Lost Man’s heartbeat in the frame.

Visual nods to Kubrick’s The Shining—tidal waves crashing through corridors, symmetry in composition—sit alongside Escher-inspired spatial tricks without ever feeling derivative. These flourishes merge into a cohesive aesthetic that transforms a mundane setting into a crucible of moral and emotional tension. The result is a film that traps both character and spectator in a space where every echo, every flicker of light, demands scrutiny—and perhaps, change.

The Exit 8 premiered in the Midnight Screenings section at the 2025 Cannes Film Festival on May 19, 2025, and is scheduled for theatrical release in Japan on August 29, 2025.

Full Credits

Director: Genki Kawamura

Writers: Genki Kawamura, Kentaro Hirase

Producers: Genki Kawamura, Taichi Ito, Minami Ichikawa, Yoshihiro Furusawa, Abe Yuki, Yusaku Tanaka, Akihito Watanabe, Ichiro Shinohara, Saito Takashi, Kenji Yamada, Tetsuto Yamamoto

Executive Producers: Hisashi Usui, Wakana Okamura

Cast: Kazunari Ninomiya (The Lost Man), Yamato Kochi (The Walking Man), Naru Asanuma, Kotone Hanase, Nana Komatsu

Director of Photography (Cinematographer): Keisuke Imamura

Editor: Sakura Seya

Composers: Yasutaka Nakata, Shouhei Amimori