I've thought about this film a lot in the past year since I first saw it. Softly steps on very big subjects. Dealing with the universe, aliens, mysterious illnesses and ecological concerns, it could so easily be schlocky and ineffectual. Ishii captured the essence of a Pure Moods tape and transforms it into an engaging tranquil science fiction narrative. It tells a story mostly in the form of sounds, textures and a dream-like atmosphere. Giving details only when completely necessary; truly an immersive film experience. He creates a magical environment using only visuals present in reality. No crazy effects, just the transcendental cosmic beautify of what exists in nature.

This basically hits 95% of my narrative concerns, is pretty aesthetically gorgeous, and has a fucking amazing score. Hypnotic and languid, ennui squeezes out of every frame, this is so unbelievably fantastic.

First movie of the year! I'm familiar with Sogo Ishii's cyberpunk efforts, but was totally blown away by this polar opposite New Age teen romance. Transcendence, dolphin speak, eerie alien soundtrack. Literally, Seapunk: the Movie. I think I've set the bar for the rest of the year.

on cosmic (in)significance and miracles of proximity. flows in reverse from the mundanities of these teenagers’ lives to the loftiest peaks of cinematic abstraction effortlessly. the rediscovery of a boundless soul through bodily harm; not the atoms but the spaces between (the sublimity of negation). the only thing humans can give to the earth is blood (but what wonders it bestows in return). marvelous

”i’m not scared about the boundaries anymore”

“What’s the relationship between constancy and internal milieu?”

Ishii stepped outside his own reference frame to make a rare film that both coexists with the Earth and feels dictated by a higher force of nature. Its idiosyncrasies about ecological concerns are so fully textured and so fully in-tune with the minute sights, sounds, gestures, cracks, the spatial blips between each and every living moment of our world, that even the most familiar landmarks (like trees, water, rocks) seem monumental in their presence.

Honestly, most of this went over my head and there is a LOT to unpack here... though at core I think this is ultimately really mournful about mankind’s cyclical solipsism - our inabilities to preserve, our inclinations to destroy - but just as hopeful about the good we achieve when we remember we’re moved by the flux of a universe, not through a written narrative.

can't wait to do drugs and finally understand what the fuck anyone in this movie is talking about

Sometimes (not often) a film strikes a chord so deep in me I am left with a feeling I can't put words to. Part of it is that films like these are set in a world I feel like I belong to. I shouldn't be here, I should be there. That's really the only way I can think to describe it.

a lot of stupid nonsensical drama narrative whatever you call it, but it's relaxing to view and it's well shot.

Wonderfully subtle and absolutely suffused with low fantasy. The score is perfect.

The first hour feels like an after-school special about a fictional disease and looks like one too.

The vast quantity of boring overly expositional dialogue awkwardly delivered by subpar actors is only broken up by more exposition being delivered via news report, billboard, newspaper or narration. It's a slog

I mean, I agree... sometimes it looks a bit Tumblr aesthetic but mostly it looks like a shot-on-tape TV movie. People describing this as a visual marvel would've been so into the short films about bullying they showed me in primary school.

Am I watching a different movie to you people?

I found the first portion of this film to be somewhat goofy but ultimately in a way I enjoyed. It presented some interesting ideas and like able characters. However, I do take issue with a lot of this film. With Ishii’s other work, Electric Dragon 80.000V being the one I’ve seen, it’s absolutely insane and the film is so short that you get whiplash in a way I love. This film has a lot of that same insanity but feels like Ishii was trying to create a slow burn narrative that just didn’t mesh well for me.