Eureka

Yurîka

France, Japan

2000

217 Min

Color, Black and White

2.35:1

Japanese

Currently 4.3/5 Stars.
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CAST Kôji Yakusho, Aoi Miyazaki, Masaru Miyazaki, Ken Mitsuishi, Yoichiro Saito, Sayuri Kokushô, Go Riju, Yutaka Matsushige, Sansei Shiomi, Kimie Shingyôji, Denden, Eihi Shiina

MUSIC Isao Yamada, Shinji Aoyama

Cannes (In Competition): FIPRESCI Prize, Prize of the Ecumenical Jury, Toronto (Contemporary World Cinema), New York, Rotterdam, Edinburgh (Eyes of the World)

Synopsis

When a bus is violently hijacked in a small Japanese town, only three people survive: the guilt racked driver Makoto, and a young brother and sister, Kozue and Naoki. Two years later, each of them still struggle to re-engage with life. But when Makoto impulsively buys a bus, he sets out with Kozue and Naoki on a long journey across Japan, which becomes a cathartic odyssey of spiritual self-discovery. –worldcat.org

Director

Shinji Aoyama

Shinji Aoyama (青山真治, born July 13, 1964, in Kitakyushu, Fukuoka, Japan) is a Japanese film director and novelist. He graduated from Rikkyo University. He won two awards at the 2000 Cannes Film Festival for his film Eureka.

Shinji Aoyama was born in Kitakyushu, Fukuoka prefecture, Japan, where he attended Kitakyushu Midorigaoka public junior/senior high school. He graduated in 1989 from Rikkyo University, where he majored in film studies in the department of British and American Studies. While he was a student, he was deeply influenced by the theorist and film critic Shigehiko Hasumi, from whom he took classes.

After graduating, Aoyama worked as an assistant director to Swiss independent film director Daniel Schmid, Japanese director Kiyoshi Kurosawa, and others. In 1995 he made his directorial debut with the V-cinema production Kyokasho ni nai! (Very Private Lesson), based on the manga publication of the same name.

In 1996 Aoyama made… read more

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mithono

23Feb13

The beginning part is so stark and sombre and there's a huge allure to the attraction of mystery and oblique weirdness of Eureka in those moments. The film begins to open up as it becomes a road-movie within what is effectively its second-act. It's more interesting when its doing less but its contemplative and affective in its remarks about change, openness and bonds.