almost like a further, perverse turn for his characters to take (his invocation of Dostoyevsky/Crime & Punishment here seems not unlike his examination of Christianity in *Love Exposure*). Also, second the comment below: a heartbreaking film.
Sono continues to demonstrate flair, passion and playfulness which allows his film to approach adult themes in its quirky and twisted representation of youth alienation in contemporary society. Though I really like him as a film-maker, Sono continues his trend of making films about 30 minutes longer than they really need to be.
The Sono films I watched always had tragic endings in that protagonists end up giving up and there seems to exist no possibility of human sanity and goodness. Somehow I don't manage to find any of his films funny.They are all serious. At the end of Himizu, I was fearfully expecting the same but here I see Sono's bright view on youth and life. May Japan thrive!
A gripping, emotional, heart-wrenching journey of despair, loss, loneliness, alienation, friendship, love, survival and hope. One of my favorites.
A little long and over explained story, but a rather strong depicting of the contemporary human problems of Japan. The Fukushima part was not pieced perfectly to the overall narrative, though still has its emotions. The theater-like improvisations and the main characters are a big plus.
Not familiar with the source material, but Sono succeeds here despite leaving behind his usual ero-guro tendencies and instead grafts the real-world trauma of contemporary events onto the malaise and incomprehensibility of succeeding at life. Maybe the appeal to be a "good citizen" and pay for one's crimes comes off to some as didactic, or a little naive, but, in the context of his other films, it seems
the manga has been my favourite for years now (along with most furuya stuff), but making it into a film required sono to transform it into something else entirely. he succeeded with aplomb, as he always seems to. 'it doesn't matter if it's true. just imagine it.' heartbreaking.
yes, there were some beautiful shots in this film, but overall it is too didactic and has too much pathos for my liking. and that lurking dostoyevsky dilemma became just too much in my face by the end of the film. all this made it impossible to enjoy the cinematographic side of the story for me.
Probably Sion Sono's most emotional film that I've seen. I read the manga beforehand, it's much different, if not better. It's more like a love letter to his country after the wake of the events that occurred the year it was filmed and released. He doesn't use gore this time around to shock the viewer, but let's the dialogue shine through. The two main actors did such an amazing job as well. One of his best films.
I LIKE THIS "MOVIE" VERY MUCH. I DISLIKE THE BLATANT "POLITICALLY CORRECT" ASPECT OF IT: KEIKO "RATTING" ON SUMIDA TO THE POLICE, BECAUSE HE IS "ILL", EXPECTING FOR HIM TO BE IN PRISON FOR YEARS, THEN COME OUT "FINE", AND FORM A FAMILY TOGETHER, AND LIVE AN "ORDINARY LIFE" AS HE WANTED. THAT IS RIDICULOUS. THAT MADE ME NOT GIVE IT FIVE "STARS", ONLY FOUR.