Lost in the Movies: japanese film
Showing posts with label japanese film. Show all posts
Showing posts with label japanese film. Show all posts

January 2025 Patreon round-up: EXCLUSIVE - Films in Focus podcast #7: Evil Does Not Exist + TWIN PEAKS Character Series advance & David Lynch tribute


Patrons selected a quiet but intense Japanese film to kick off 2025. Evil Does Not Exist, Ryûsuke Hamaguchi's follow-up to the widely acclaimed Drive My Car, began production as something akin to a music video. As the work developed, Hamaguchi became captivated with telling the story of reserved small town residents threatened by a "glamping" resort site project. The film's ending is its most noteworthy and controversial aspect; as such, it naturally assumes a lot of the focus in my Films in Focus episode. But there are other fascinating elements at play too, including the personal struggles of the talent agents hired by a corporation to deceive the townspeople. As described by Matthew Smith, the patron who recommended this film, Evil Does Not Exist "shifts at times between a meditative look at living and working within nature, a process film about zoning disputes, a workplace hangout movie, and something less explicable than mythic." I found the experience at times frustrating but always fascinating, and it made for a great discussion. Meanwhile, I took the advances of my TWIN PEAKS Character Series all the way to the edge of the top ten.

And sadly, I had to pay tribute to David Lynch on the event of his passing away - something I did for the first time on Patreon (publicly, not just for patrons).

What are the January rewards?

belated June 2024 Patreon round-up: EXCLUSIVE - Conversation on The Boy and the Heron & Godzilla Minus One w/ Max Clark + TWIN PEAKS Character Series advance


Two Japanese World War II-era fantasy films from 2023 involving dangerous creatures crown my $5/month tier rewards for June - and they're covered in an unusual way. At this point I'm leaving podcasts for patron's picks every other month and Twin Peaks topics more sporadically than that, so I when I spoke about Hayao Miyazaki's The Boy and the Heron and Takashi Yamazaki's Godzilla Minus One with my friend and previous guest Max Clark (who got me to see both of these films), I decided to edit and present our extensive, two-hour-plus discussion in text form. In addition to exploring how The Boy and the Heron both emerges and differs from previous Miyazaki films (in the past I've covered Spirited Away in prose and podcast), we learn how Studio Ghibli Park in Japan crystallizes the auteur's vision, tease out the film's most-likely-accidental but still intriguing reflections on AI, investigate how the fanciful story reflects the behind-the-scenes Ghibli personalities, and reflect on why the friendship between the characters Mahito and Himi is so affecting. For Godzilla Minus One, which I saw initially in its brief black-and-white cinematic presentation, we dig into the intricacies of the fluid creature design and compare this latest entry - and its monster - to Hideaki Anno's Shin Godzilla (which I've discussed alongside the original and Americanized fifties Gojira/Godzilla in capsule form before; elsewhere I recorded capsules on the 2014 Godzilla and the original King Kong vs. Godzilla). And we get into many other subjects in relation to both films, including Japan's experience in the war and postwar periods. For even more from Max and I, you can check out our podcast episode on Blade Runner 2049 several years ago.

And open to all patrons is an advance entry on another beloved Twin Peaks character, alongside a few quick updates on what else I have been or will be working on this summer...


What are the June rewards?

Rashomon as Twin Peaks Cinema #20 - Disordered Stories (podcast)



When focusing on "disordered stories" - the theme of the Twin Peaks Cinema season/miniseries that closes this month after episodes on Back to the Future Part II and The Vanishing - it's hard to avoid the granddaddy of them all, Akira Kurosawa's gleaming prism Rashomon (1950). The investigation of a woodland rape/murder from the perspective of the three participants (even the one who diad) is capped by a surprise fourth point of view which throws all of the others into relief. Who is telling the truth? The bandit (Toshiro Mifune) who presents a boastful, fairly one-dimensional portrait of conflict? The dead husband (Masayuki Mori), conveyed through a medium in contact with the other side, who focuses almost entirely on his wife's "betrayal"? The wife (Machiko Kyō) whose version of events both condemns and exculpates herself by the standards of the day? Or the woodsmen (Takashi Shimura) who drags all of the self-mythologizing figures down to earth? Is even he implicated in the surrounding crimes? The first part of this podcast reads an older essay on the film to establish its narrative and themes before I offer newer reflections emphasizing the way this story, and particularly its telling, relate to Twin Peaks. There are certainly similarities within the world of the two works: setting, character, and particularly the way that this fragmented reality is rooted in the trauma of a woman victimized by powerful men (and determined to assert her presence despite their power). But the most striking connections may be how the storytelling elements *within* Rashomon are mirrored by meta elements *around* Twin Peaks. Just as the characters themselves in the Japanese film adjust, loop back on, and transform the story they're telling, so the creators of the American TV show would shift, reverse, and expand their perspectives over the course of years.



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You can also listen on Pinecast and Spotify
(and most places podcasts are found)


LINKS FOR EPISODE 20

TWIN PEAKS CONVERSATIONS #17 w/ Twin Peaks: Evangelion hosts Craig & Vinny (YouTube & extended PATREON) premieres on Wednesday


The idea of a Twin Peaks fan watching Neon Genesis Evangelion for the first time while an Evangelion fan watches Peaks for the first time is already intriguing enough - but Craig and Vinny of the Twin Peaks: Evangelion podcast have taken the concept much further. Craig, an anime skeptic, begins his journey not with the original Evangelion series but with the Rebuild films, while Vinny, a David Lynch novice, jumps right into The Return without ever having viewed seasons one and two of Peaks. Their takeaways are absolutely fascinating, including perspectives on characters they meet long after most viewers were introduced, speculation about parts of the show they missed, and - when they eventually get back to the earlier material - surprised reactions to what built the material before they came in. Both hosts are joining me on my own podcast this month, now that their own project is concluded (along with viewings of some additional anime/Lynch pairings and other fun exercises like casting Twin Peaks characters/actors in Evangelion). We discuss how they initially approached each series, how their expectations were met or defied, and whether or not this has reshaped their perception of broader genres or mediums. We avoid Evangelion spoilers for much of the first half, until I give fair warning. (UPDATE: This cross-post was intended for 8am Sunday morning but went up at 4pm due to a publication mishap; apologies for the confusion.)

You can bookmark and refresh this page within the next few days (or keep an eye on my YouTube channel) for the upcoming premiere...

(premieres at 8 pm Wednesday, December 21)

For my $5/month patron tier, we dig deeper into connections between the two shows, discuss why the hosts placed the respective feature films in different parts of their parallel watch-throughs, and explore the impact of the show's finales (meaning both the last parts they watched as newies, and the more conventional endpoints they reached as veterans with recently released material).

Listen to...
(also premieres at 8 pm Wednesday, December 21)


(& follow them on Twitter: @TPEvangelion & Instagram: @tpcolonepodcast)


All of my own work on Neon Genesis Evangelion & Twin Peaks
including a brand new review of Evangelion 3.0 + 1.0 as of Wednesday, December 21



Belladonna of Sadness as TWIN PEAKS CINEMA #12 (podcast)



An appropriate tie-in to my recent listener feedback episode of the Patreon podcast, which included a passage on the dark fairy tales themes coursing through Twin Peaks (specifically emphasizing Sleeping Beauty and the work of Anne Sexton), the Japanese proto-anime Belladonna of Sadness also kicks off the new three-month season of Twin Peaks Cinema. I'm calling this season's theme "Traumatic Transformations". These films all begin with characters haunted by trauma: loss of loved ones, abuse by powerful men, sometimes both. These traumas become wrapped up in fantasies of various kinds, some casually poetic (a fairy tale read to children when babysitting), some obsessively escapist (a UFO special sparking both avoidance of and a search for the more disturbing truth), and some literally manifesting in supernatural powers (an impoverished peasant evolving into a hypnotic witch whose magic threatens the very lord who raped her). Even the more realistic films suggest, in an offhand way much like Twin Peaks, that the tragedies unfolding across their communities may be connected on some deep, fundamental level with an individual's private crisis. This is certainly true of Belladonna of Sadness, a fascinating project mixing fable with social history, psychology with pornography, and static illustration with pulsating psychedelic montage. Connections to Peaks abound, perhaps most directly to The Secret Diary of Laura Palmer as our heroine Jeanne struggles with a BOB-like demon who is both a manifestation of her own personal defiance and a product of the assault which has become intertwined with her own identity.



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You can also listen on Pinecast and Spotify
(and most places podcasts are found)


High and Low (LEFT OF THE MOVIES podcast #5/LOST IN THE MOVIES podcast #27)



This is the last "Left of the Movies" podcast to appear on the Lost in the Movies feed - when this series resumes in October, it will have its own feed. (Previous episodes include Medium Cool, Sorry to Bother You, High-Rise, and the climactic class violence of Once Upon a Time in Hollywood, Joker, The Irishman, and Parasite. On this episode I discuss the Akira Kurosawa film High and Low, which depicts class stratification via a kidnapping thriller set in a spacious high-rise apartment and the sprawling city below. At first tightly-wound around a specific location and playing in what feels like real time, the movie defied both my memory and expectations. A later influence on Ransom, the first R-rated film I ever saw (which I'm surprised I didn't mention in the review - I thought I had), High and Low dedicates itself to a shifting point of view which entertains us yet subtly undercuts our identification. What is achieved at the film's end, for all of the various characters? Is High and Low as clear-cut a morality play as it may initially appear, or are the police chasing a shallow victory at real, dangerous cost? In the surrounding intro and outro, I offer some thoughts on the current context: inequality, housing, and other denied, dangled, and threatened benefits for those who often shouldered the greatest burdens of the pandemic.


Subscribe, rate, and review on Apple Podcasts
You can also listen on Pinecast and Spotify
(and most places podcasts are found)


Spirited Away (LOST IN THE MOVIES podcast #13)



The whimsical, sometimes unnerving but still soothing mood of Spirited Away feels like a good way to kick off 2021 as my podcast returns from its holiday break...plus it was Hayao Miyazaki's eightieth birthday last week. With the Ethan Hawke series over, I will now be discussing random films every couple weeks, with Lost in the Movies continuing to be interspersed with Twin Peaks Cinema and Left of the Movies entries every three months; the details are discussed on this episode. In the fall I will take a new approach, beginning to open up Lost in Twin Peaks on a daily/weekly basis (the long patron episodes will be divided up into more bite-size segments) and spinning Twin Peaks Cinema and Left of the Movies into their own monthly feeds. I also hope to start covering a new release every month, and I already have a theme in mind for the non-new release Lost in the Movies episodes throughout 2022 (think of which film celebrates its forty-fifth anniversary that year for a clue - no, not Eraserhead, although I do plan to release an episode on that '77 classic this year). As for Miyazaki's masterpiece, this is a shorter review than usual - a light meditation on the themes and atmosphere of the movie (another review, based on my first-time viewing, is linked below). I hope this encourages you to send in your own thoughts on Spirited Away, so that I can share them in future episodes.





belated December 2020 Patreon podcasts: LOST IN TWIN PEAKS #23 - Season 2 Episode 15 and LOST IN THE MOVIES #74 - Twin Peaks Cinema: Rashomon (+ Twin Peaks Reflections: Leland, Albert, Donna, Twin Peaks & Deer Meadow sheriff stations, One-Armed Man/Season 3 Part 17 & more)


UPDATE 1/2: The "Twin Peaks Cinema: RASHOMON" episode of Lost in the Movies was just published.

As the Lost in Twin Peaks podcast reaches the infamous Diane Keaton episode, there's a lot to discuss both onscreen (many people, including myself, have much to say about Keaton's unusual approach to the series) and off. The height of the Gulf War leads to one of my longer "historical context" sections taking a detour not just through 1991's war on the Arabian peninsula but also America's ambivalent relationship to the conflict between the Provisional IRA and the British government. That's for the top tier; for $1/month patrons, six months behind, I'm finally unveiling my coverage of the episode where Laura's killer is captured. That podcast is split into two parts and was opened up on the first day of the month, to commemorate the thirtieth anniversary of the episode's airing in 1990. On the other end of the month, my main monthly episode of Lost in the Movies (patron edition) is not quite ready for New Year's Eve though it should be available sometime this weekend; watch this space...

There's been a diverse array of "Twin Peaks Cinema" selections this year, and this month is no exception, switching gears from a surreal Robert Altman slice of New Hollywood to a blockbuster time travel comedy to an anime art/exploitation musical to, now, an iconic classic of world art cinema. On the other hand there's some continuity between last month's and this month's films: both Belladonna of Sadness and Rashomon are conceptually bold Japanese films set in medieval times, depicting sexual violence with a tinge of the supernatural (one of several commonalities with Twin Peaks: Fire Walk With Me in particular). Akira Kurosawa's international breakthrough is most famous for presenting multiple viewpoints on the same event, and in that sense it also anticipates the work of David Lynch; in an archive reading of a review from nearly a decade ago, I lay out how its scenario may be less "who's to say" than its reputation generally holds. Elsewhere in the podcast I cover characters, locations, and storylines tied to the conclusion of Twin Peaks' Laura Palmer arc; the long-promised film capsules, podcast recommendations, political reflections, and feedback readings will have to wait until January since my work on the most ambitious Journey Through Twin Peaks chapter yet has taken me right up to this month's deadline (and a bit past, in the case of this main podcast). See you in 2021.
Podcast Line-Ups for...

November 2020 Patreon podcasts: LOST IN TWIN PEAKS #22 - Season 2 Episode 14 and LOST IN THE MOVIES #73 - Twin Peaks Cinema: Belladonna of Sadness (+ Twin Peaks Reflections: Norma, Vivian, Ernie, Red Diamond City Motel, Golf course, MT Wentz/The Final Dossier, The Devil's Bride & more)


In a radical departure from the cheeky, if at times apocalyptic, fun of Back to the Future Part II last month, November's "Twin Peaks Cinema" hones in on the dark psychological and avant-garde experimental aspects of Twin Peaks. When I selected it based purely on the Turner Classic Movies description, I was completely unfamiliar with Belladonna of Sadness, an explicit Japanenese mytho-psychodrama anime from the early seventies. The film tells the tragic story of a young peasant woman in France who survives a traumatic gang rape at the lord's castle, and the subsequent demonic visitations of a phallic creature who may be her own Id or Satan himself, in order to become a witch with healing powers. Full of psychedelic imagery and music evoking both earlier and later productions like Faust, Yellow Submarine, End of Evangelion, and The Witch, the film's biggest tie-in to Twin Peaks turned out to be literary, evoking Laura's struggles with BOB on the pages of Jennifer Lynch's Secret Diary.

Although I use the witch theme to connect to the archive reading of my Devil's Bride review, elsewhere the podcast tackles some relatively lighter fare - Norma Jennings' fraught relationship with her stepfather and (step?)mother, as well as how Mark Frost's later books further complicate this dynamic. In the Twin Peaks Reflections location studies, Twin Peaks' golf course and the Red Diamond City Motel (although I forgot to include that enticing "city" in the recording!) provide dual lens through which to view Leland's troubled consciousness, a theme I explore more deeply in another of this month's podcasts - my episode 15 coverage for Lost in Twin Peaks, opened to all patrons on the thirtieth anniversary of its airing. Meanwhile, the spear's tip of that rewatch (for $5/month patrons) advances to episode 21, which includes reflections not just on the troubled midseason material but also random tangents such as the American public's reaction to the ongoing Gulf War, a German left-wing terrorist group's idiomatic influence, and an abandoned cop show starring Rowdy Roddy Piper and Jesse Ventura. It's always fun to see where a particular episode leads us...







Podcast Line-Ups for...

Patreon update #40 (The End of Evangelion, Carrie Page as the dreamer, American Made, The Children Act, Wire's 154 & more) and preview of Zama review


What would you be interested in hearing from "Twin Peaks Reflections" in the future? With the Return rewatch over, I consider some different options and also ask for your input. Additionally, I survey all of the Twin Peaks subjects I've covered so far. Elsewhere on the podcast, I finish reading my 2015 End of Evangelion review, read some follow-up feedback from the listener who discussed Cooper as the dreamer (now she's focusing on Carrie Page as Laura's dream), and run down the films, books, and music I've experienced in the past several months. For the biweekly preview, I share a full review for the first time, of the Argentine film Zama.





Line-up for Episode 39

INTRO

WEEKLY UPDATE/recent posts: updated Twin Peaks directory, from now on focusing on my backlog

WEEKLY UPDATE/Patreon: 2nd tier biweekly preview - Zama, discussing biweekly preview backlog

WEEKLY UPDATE/work in progress: Ethan Hawke films for Patreon, The Unseen: La La Land, Devil's Bride review, Fire Walk With Me early draft, read Lindsay Hallam's Fire Walk With Me book, Mad Men season 2 premiere viewing diary

TWIN PEAKS REFLECTIONS: Where should I go with this section?

LISTENER FEEDBACK: Twin Peaks/Neon Genesis Evangelion, Double R counter patrons - is that shift/cut a continuity error & does it matter, Carrie Page as Laura's dreamer, remembering what Ethan Hawke was in

OTHER TOPICS: American Made, The Children Act, other films I've watched for online work, Dead Poets Society special features, still playing DVDs & CDs, Alan Splet, Roku menu, Spielberg bio, Lynch's Room to Dream bio, Blue Rose Magazine including Women of Lynch episode, Fire Walk With Me book, Classics Illustrated (90s editions), Time Machine books, Common Ground photo book, 154 (Wire album), Live at the Witch Trials (The Fall album), Sister Ray

OPENING THE ARCHIVE: The End of Evangelion (2 of 2)

OUTRO

Patreon update #38 (Twin Peaks season 3 finale - Listener Feedback, The End of Evangelion, additional listener feedback & more) and preview of Jeffries & the Woodsmen in Fire Walk With Me/season 3


The long break between episodes was still filled with activity, including a Patreon update sharing video "slide-show" versions of an earlier podcast (as well as a couple biweekly previews - the second one, on a couple Fire Walk With Me motifs dragged into season 3 - is featured below). Part of this episode covers those videos as well as other material released during this time - September saw more individual posts than any other month in the site's history. However, most of Episode 37 is devoted to listener feedback, primarily (although not exclusively) for my last episode, covering Parts 17 and 18. Topics include Cooper's responsibility for Mr. C, Lynch as a trickster or naif, and the Doppleworld of season 3, along with surprising - at least to me - revelations about Mark Frost's initial seed for The Return, Sheryl Lee's perception of Maddy, and Sherilyn Fenn's knowledge of her character's storyline. This podcast concludes with the first part of an End of Evangelion essay from my archive series. It was published in 2015, but perhaps has new relevance after The Return's own conclusion.



Line-up for Episode 37

INTRO

WEEKLY UPDATE/recent posts: Twin Peaks comments from spring 2015 & first time viewer companion, the full archive, added 4 Fandor videos to YouTube, updated The Passion of Anna K. YouTube link

WEEKLY UPDATE/Patreon: 10th anniversary videos, 2nd tier biweekly previews - Get Out & Jeffries/woodsmen in FWWM/s3, ep. 15 YouTube takedown

WEEKLY UPDATE/work in progress: phone videos for Journey Through Twin Peaks, corresponding with viewers on Journey Through Twin Peaks

TWIN PEAKS REFLECTIONS & LISTENER FEEDBACK: responses to my coverage of Pts. 17 & 18 (as well as pre-s3 predictions, Pt. 16, old Twin Peaks episodes, Maddy, comic-con panel, ring in s3, David Learns to Fly, etc)

OPENING THE ARCHIVE: The End of Evangelion (1 of 2)

OUTRO

Patreon update #9: High and Low & Elephant (+ podcast recommendations & more)


update: this page now includes a link to the podcast

This week's podcast features a couple intense movies with very different approaches to violence. The first film in focus is an Akira Kurosawa masterpiece, enveloping the viewer in the ever-shifting world of a businessman who must decide if he'll pay the ransom for a servant's son, the cops who try to find the kidnapper, and the sociopathic kidnapper himself. The second film in focus stages a series of shootings, with no context or dialogue provided as we follow characters in long takes until either they deliver death or death is delivered to them. I also recommend a whole host of recent podcast episodes and continue my survey of Twin Peaks books with a discussion of Agent Cooper's "autobiography."




Line-up for Episode 9

INTRO
*
WEEKLY UPDATE/recent posts: tweeting 10 archive pieces a day until the 10th anniversary
*
FILM IN FOCUS: High and Low
*
FILM IN FOCUS: Elephant
*
TWIN PEAKS REFLECTIONS: My Life, My Tapes: The Autobiography of FBI Agent Dale Cooper
*
OTHER TOPICS: Podcast recommendations
*
OPENING THE ARCHIVE: "Four's Company" (February - May 2010), this week's highlight (The Hurt Locker)

BECOME A PATRON

Sci Fi Countdown - The End of Evangelion (CinemaVille discussion w/ Bob Clark for Wonders in the Dark)


This morning, I posted my only official entry in the Wonders in the Dark Sci-Fi countdown: an audio discussion with Bob Clark on the film The End of Evangelion, which ranked near the very top of my own ballot.
“The End of Evangelion” is an unusual spin-off of a TV series (only “Twin Peaks: Fire Walk With Me” might be more unusual). It both concludes and subverts the series, veering way into experimental territory while still wrapping up the narrative which the show “Neon Genesis Evangelion” began. I’ve covered the film in almost every form imaginable – reviews, written conversations, visual tributes, and video essays – so I decided to take a new appraoch this time. With Bob Clark’s permission, I stepped in as a guest host on the CinemaVille podcast and together we analyze the film, exploring its connections not just to the series but to the Czech play R.U.R., and Dante’s Divine Comedy. There’s a lot to dig into here, some grab some popcorn and get ready to start tumbling down, tumbling down, tumbling down…

Last week, I appeared on Bob's podcast Cinemaville to discuss the series Neon Genesis Evangelion (from which the film is spun off); this time, I took over as guest host to introduce, conduct, and edit the conversation myself. Thanks to Bob for allowing me to step into his shoes for an episode, and I hope listeners enjoy the experience.

Here is the podcast itself:



I've also participated in many other Wonders in the Dark genre countdowns over the years. Here are the previous films I've covered: Marty (both versions) and a video essay on Lady and the Tramp for the Romance Countdown; Pat Garrett & Billy the Kid for the Western Countdown (make sure to check out the comments, where the scholar who edited the 2005 version responded to my review and the controversy surrounding his cut); a video essay on Modern Times for the Comedy Countdown; An American in Paris, 42nd Street (including a video essay), and a visual tribute (using Arlene Croce's prose) to The Gay Divorcee for the Musical Countdown.

Obviously, this is not my first rodeo with The End of Evangelion (nor is it Wonders in the Dark's - Allan Fish wrote about it back in 2011). I've created a "3 1/2 Minute Review" video essay; a video essay comparison of Twin Peaks and Neon Genesis Evangelion (including the film); a lengthy prose essay; a two-part printed conversation with Bob Clark about the film's story and style and its characters; an entry in my Favorites capsule series; and screen-cap visual tributes to a battle sequence and the climactic apocalypse. I even devoted an entire week of blog posts to the subject last year.

Sci Fi Countdown - discussing Neon Genesis Evangelion on Bob Clark's new podcast, "CinemaVille"


This is officially Bob Clark's entry in the Sci-Fi Countdown, going on right now on Wonders in the Dark. But since we'd discussed this series Neon Genesis Evangelion so often in the past, he invited me as his guest his brand new podcast "CinemaVille". Both endeavors are worth checking out beyond just this entry, and you can read more about Evangelion over on Wonders:


Here is the podcast itself:


And that's not it for my involvement with the countdown, the podcast, or Evangelion. On Tuesday, I will be contributing my own entry to the show, taking over Bob's show for an episode as a guest host (with me questioning him this time) to discuss...well, we'll leave that as surprise! See you then.

Meanwhile, make sure to check out Bob Clark's impressive essays on the first six episodes of the series, the film Evangelion 2.0, and the proper way to screen Evangelion films, as well as Wonders guru Allan Fish's own take on the series and film The End of Evangelion, and of course my own episode guide, accompanied by extended chats with Bob for each episode.

The Favorites - Late Spring (#78)


The Favorites is a series briefly exploring films I love, to find out what makes them - and me - tick. Late Spring (1949/Japan/dir. Yasujiro Ozu) appeared at #78 on my original list.

What it is • In postwar Japan, 27-year-old Noriko lives in a cozy arrangement with her father, situated perfectly between the travails of the past and the uncertainties of the future. Life is a series of pleasant household chores, refreshing excursions to a Tokyo museum or the beach (whose looming Coca-Cola sign, along with Noriko's slacks and sweater, stand as a modern/Westernized contrast to the traditionally-dressed tea ceremony that opens the film), and playful, bantering conversations with old friends and relatives. The film deceptively thrusts us into this particular moment in Noriko's life, lulling us into believing that this is how it has always been, and always could be. But in fact the situation is tenuous and fleeting. Noriko has only just recovered from an illness incurred during the harsh years of the war and she is expected to marry. She has no skills that she could apply outside of the home (her friend, an independent divorcee working as a stenographer, chides her wanting a job of her own). But Noriko doesn't want to marry and her father, at least until he is pressured, does not seem especially eager to lose her either. They have a close bond and we sense that all the unspoken tragedies of the past - her mother's death, the harshness of the war years, the poverty and humiliation of occupation - have only forged their desire to remain within a comfortable cocoon. Miraculously, as with much of Yasujiro Ozu's work, the placid, soothing surface of what we see both conceals and suggests the storm offscreen. The film is as deeply wise as it is seemingly simple, and with that wisdom comes both sadness and acceptance. The arrival of the late spring is little comfort for those who enjoyed their hibernation.

Why I like it •

Neon Genesis Evangelion: the complete episode guide


A complete guide to every episode of Neon Genesis Evangelion, the follow-up film The End of Evangelion, and the three Rebuild films

My second viewing diary featured the second-most-covered series on my site (after the episode entries, I've linked up other pieces featuring Evangelion as well). Each episode review is followed by a conversation with critic and anime enthusiast Bob Clark; eventually we were joined for many entries by the Japanese film and cultural commentator Murderous Ink.

The Favorites - The End of Evangelion (#82)


The Favorites is a series briefly exploring films I love, to find out what makes them - and me - tick. The End of Evangelion (1997/Japan/dir. Hideaki Anno & Kazuya Tsurumaki) appeared at #82 on my original list.

What it is • Welcome to the end of the world. This animated masterpiece begins in a flooded wasteland, introducing us to an array of characters who are completely isolated from one another, buried in their own grief, guilt, depression, and loneliness. We are fifteen years after a cataclysmic event that wiped out most of the earth's population, and mere days after the last of many battles with monstrous creatures (called Angels, ironically) who laid waste to this particular city and destroyed the psyches of the teenage warriors forced to fight them. (The battles with the Angels are depicted in the television show Neon Genesis Evangelion, to which this film is a follow-up.) So the scenario is already post-apocalyptic...but we ain't seen nothing yet. At least half the film is consumed by "The Human Instrumentality Project," in which the physical bodies of humanity are dissolved and their souls are fused together in a vast sea of consciousness, dissolving pain and suffering alongside individuality and agency. Shinji, the 14-year-old mecha pilot who is placed at the center of Instrumentality, must decide if he wants relief from his loneliness by dissolving his identity, or if he should seek love and acceptance the hard way, as a separate but active person. The film depicts this process through a gorgeous swirl of rich animation (mixing sci-fi action, spiritual symbolism, and psychological allegory), live-action footage, children's drawings, and other raw material.

Why I like it •

I, the Executioner


The film begins in brutal fashion with the rape and murder of a serial killer's first victim (or so it seems). If the filmmakers - in this case director Tai Kato and his co-writers Haruhiko Mimura and Yoji Yamada - want to make sure we don't sympathize with this murderer, they couldn't have picked a much better way to open their story. And yet following the death of the victim, so far the only person whose face we have seen onscreen, we get several shots of the killer, Isao Kawashima (Makoto Sato), including one iconic close-up featured above. The trick of Alfred Hitchcock's Psycho comes to mind. If our only possible protagonist has been removed, won't our allegiance shift to the next character we meet and/or spend a sustained amount of time with? Will this be true even if he is a cold-blooded criminal? In a way, the entire movie is a test of this thesis, with a few other troublesome twists thrown in for good measure.

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