This film feels like watching a clock and its hands with the intention of making sense of how fast (or slow) my reality truly goes. I am well aware that I am a slave to my very limited and human perception. Occasionally, the second hand stutters and goes a step backwards before continuing its forward motion. Sometimes it feels like it stops dead cold. This clock is my only way of telling time, however, so I have to trust it…
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Shoplifters 2018
Honestly, I still do not know what to make of this film. It is undoubtedly a good one, a more than enjoyable and engaging experience (impressive acting, good direction, nice shots, etc.) and I appreciate its attempt at social commentary on Japanese society. Despite this, I cannot help but feel that it is emotionally manipulative, a hard line to draw when it comes to engaging with art of course, with Maborosi and After Life being my only points of reference…
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Uncle Boonmee Who Can Recall His Past Lives 2010
In Uncle Boonmee, Apichatpong Weerasethakul does so well in representing the supernatural atmosphere of countryside folklore in a way that feels universal among Southeast Asian cultures (speaking as a Tausug-Filipino who grew up hearing not exactly identical tales but nonetheless similarly familiar ones). Seeing that local folklore come to life onscreen is a truly special experience.
It also reminds me deeply of how we cherish our relationship with our dead and our own connection to the spiritual world as well…
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The Human Condition III: A Soldier's Prayer 1961
Review on the entire trilogy
The Human Condition is a wonderful trilogy of epic proportions with an undeniably monumental scope, impressive cinematography, and compelling though inconsistent performances that make for a worthwhile experience despite its length. No doubt a fine achievement in its own right.
While much has already been said about its greatness, I would like to focus a bit more on what I did not like about it.
The Human Condition is, to borrow from Claude Lanzmann's criticism…
