like watching a ruth goldberg machine in action, a dizzying ride through an incredibly intricate world that is constantly in motion. the camera in playtime has a mind of its own, frequently meandering from its assigned task of tracking the equally hapless and distracted protagonists of the film. playtime seems to defy meaning, in a sort of way, as if the myriad of little gags and moments thst comprise the film seem to simply exist for the sake of existing, almost in a manner of thumbing its nose at the suggestion of some higher purpose, or meaning.
coming into this one about two decades too late, but still very charming and full of life. definitely the most personal/intimate of the ghibli films that ive seen, with a shift away from grandiose world-building that make many of miyazaki's other films. totoro still manages to pack so much into a relatively short run time, and creates an incredibly memorable environment & cast of characters.
koreeda has an incredible talent - the comparisons to ozu's subtle, methodical pace are evident and fully warranted. but equally impressive is his ability to blend his subdued touch with his gift for crafting a fully immersive, evocative environment in the vein of linklater or even miyazaki.
this is perhaps no better demonstrated in koreeda's handling of death. death permeates and underlies nearly every frame, every line, every action in still walking. but while koreeda does not soften the blow…
it's kind of hard to believe that drunken angel is the first time that toshiro mifune & takashi shimura have appeared on screen together - while they would later star together in other, better movies, the dynamism between the two here might be at their best. drunken angel is a gritty yakuza film in the vein of high and low and yojimbo, set to revolve around a strangely didactic moral lesson about tuberculosis. its a bit difficult to see what kurosawa…