Jetzt kriegen auch schon bayrisch-japanische, independent Dramas Sequels?

Also der Film ist echt verwirrend. Alleine seine Existenz ist verwirrend. Die Fortsetzung der vorherigen Story und dessen Umsetzung ist verwirrend. Seine tolle Thematik ist verwirrend, das Ende ist verwirrend, die neue Geister Komponente (welche Dörrie auf die selbe Art bereits in "Grüße aus Fukushima" verwendete) ist verwirrend, sämtliche Ungereimtheiten zum Vorgänger? Verwirrend! Dass der Film nach einem gefühlten Ende noch 30 Minuten weiter geht ist verwirrend, das der Hauptdarsteller nicht mehr der selbe Schauspieler ist, ist verwirrend, bla bla bla verwirrend, verwirrend, verwirrend. Aber schlecht? Keine Ahnung. Bin verwirrt

54/100

KIFF Day 15 Film 24

Another festival surprise that turned out considerably better than I had expected (which isn't exactly saying much), after I was forced to watch it when the scheduled Ali: Fear Eats the Soul (1974) screening was cancelled and replaced with this title. Quite experimental in nature, which isn't necessarily a good thing all the time but makes for a curious watch at least. There were considerable portions without colour-correction and shot at a higher frame-rate, so as to simulate home video, that seemed more jarring than functional or necessary even. The fragmented narrative takes its time to settle in, but the film really kicks into gear in the second half once the action displaces to Japan and starts filling in the blanks with revelations. Seeing Kirin Kiki in her final on-screen role was rather special too.

This movie is a complete disappointment.
The first part understood telling a very intense story in a delicate, very emotional way.
This movie is everything but.
The characters are hollow beings, played by some of the worst actors I've ever seen, just created to fulfill a whole bunch of overly dramatic clichés. And that's what the whole story feels like. Overly dramatic, shallow and full of clichés.
How can the same person that created a masterpiece like Cherry Blossoms deliver something like this?
I don't know. It just was a complete waist of time.

This review may contain spoilers. I can handle the truth.

At times a little too experimental, but full of great character moments. Really liked how it connects Germany and Japan via folklore festivals and ghosts/demons.

Sad and emotional and features Kirin Kiki’s last released role.

Yolo Euler

I dont think anyone expected hanami of all things to get a sequel over 10 years after it came out but here we are

Risky plot with the supernatural. The drunk sees the dead. But here it's not too stupid, even if not magical enough.

My Points: 5.3
My Letter Grade: B-
My Stars: ★★½
My Rating: Average -> Some good points and no major artistic crimes are associated with this film.

Average Rating: 5.250

71/100 - Good

This movie is a complete disappointment.
The first part understood telling a very intense story in a delicate, very emotional way.
This movie is everything but.
The characters are hollow beings, played by some of the worst actors I've ever seen, just created to fulfill a whole bunch of overly dramatic clichés. And that's what the whole story feels like. Overly dramatic, shallow and full of clichés.
How can the same person that created a masterpiece like Cherry Blossoms deliver something like this?
I don't know. It just was a complete waist of time.

Jetzt kriegen auch schon bayrisch-japanische, independent Dramas Sequels?

Also der Film ist echt verwirrend. Alleine seine Existenz ist verwirrend. Die Fortsetzung der vorherigen Story und dessen Umsetzung ist verwirrend. Seine tolle Thematik ist verwirrend, das Ende ist verwirrend, die neue Geister Komponente (welche Dörrie auf die selbe Art bereits in "Grüße aus Fukushima" verwendete) ist verwirrend, sämtliche Ungereimtheiten zum Vorgänger? Verwirrend! Dass der Film nach einem gefühlten Ende noch 30 Minuten weiter geht ist verwirrend, das der Hauptdarsteller nicht mehr der selbe Schauspieler ist, ist verwirrend, bla bla bla verwirrend, verwirrend, verwirrend. Aber schlecht? Keine Ahnung. Bin verwirrt

This review may contain spoilers. I can handle the truth.

54/100

KIFF Day 15 Film 24

Another festival surprise that turned out considerably better than I had expected (which isn't exactly saying much), after I was forced to watch it when the scheduled Ali: Fear Eats the Soul (1974) screening was cancelled and replaced with this title. Quite experimental in nature, which isn't necessarily a good thing all the time but makes for a curious watch at least. There were considerable portions without colour-correction and shot at a higher frame-rate, so as to simulate home video, that seemed more jarring than functional or necessary even. The fragmented narrative takes its time to settle in, but the film really kicks into gear in the second half once the action displaces to Japan and starts filling in the blanks with revelations. Seeing Kirin Kiki in her final on-screen role was rather special too.

Doris Dorrïe’s follow up to the 10 year old CHERRY BLOSSOMS. Yu comes to Germany to find and help Rudi’s son, still struggling with his parents’ deaths and an alcoholic. This is an odd German-Japanese ghost story that moves in some unexpected directions. Perhaps the highlight is seeing legendary Japanese actress, Kirin Kiki, in her last role, in a scene inspired by a real conversation about colour-changing flowers Dorrïe had with the landlady who rented a suite to Ozu where he would write all of his films. Not my fave Dorrïe. But it was wonderful to see Doris live and in person to intro her film and to talk about it afterward. I’ve been a fan of hers since my aunt and uncle showed me HAPPY BIRTHDAY TURK.

what the fuck did i just watch